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PIANOS 

AND       THEIR       MAKERS 


1 


Weber  Pianola  Grand 


PIANOS 


AND     THEIR     MAKERS 


By  Alfred  Dolge 


A  COMPREHENSIVE  HISTORY  OF  THE 

DEVELOPMENT   OF   THE   PIANO   FROM 

THE   MONOCHORD   TO   THE   CONCERT 

GRAND  PLAYER  PIANO 


a?(4^ 


300  Illustrations 


COVINA    PUBLISHING    COMPANY 

COVINA,  CALIFORNIA 

1911 


Copyright  li»ll,  bv 
ALFRED  DOLGE 

All  Rights  lieserved 


THE    QUINN    «    BOOEN    CO.    PRESS 
RAHWAV,    H.    J, 


I 


' '  I  hold  every  man  a  debtor  to  his  profes- 
sion; from  the  which  as  men  of  course  do 
seek  to  receive  countenance  and  profit,  so 
ought  they  of  duty  endeavor  themselves  by 
way  of  amends  to  be  a  help  and  ornament 

thereto." 

Fkancis  Bacon. 


111C2S1 


Sebastian    Erard 


After  Original  Oil  Painting  by  David 
Through  Courtesy  of  Mons.  A.  Blondel 


FOREWORD 

IN  describing  tlie  origin  and  development  of  the  pianoforte, 
notice  has  been  taken  only  of  such  efforts  and  inventions  as 
lent  themselves  to  evolution,  or  have  stood  the  test  of  time. 
Therefore  no  mention  is  made  of  mere  freak  instruments,  ancient 
or  modern,  nor  of  the  manv  fruitless  efforts  of  inventors  whose 
aim  seemed  to  be  merely  to  produce  "  something  ditferent,"  either 
for  commercial  reasons  or  to  satisfy  the  cravings  of  their  own 
imagined  genius. 

Great  pains  have  been  taken,  however,  to  give  full  credit  to  those 
who  successfully  developed  ideas  which  in  their  original  crudeness 
seemed  impracticable.  It  often  happens,  as  in  the  case  of  the 
*'  overstrung  system,"  that  an  idea  is  born,  tried,  discarded,  lies 
dormant  for  generations,  before  the  genius  appears  who  can 
render  it  adaptable  for  practical  use. 

It  is  to  be  regretted  that  we  are  still  without  guiding  laws  for 
the  construction  of  the  pianoforte,  but  the  thinking  piano  maker 
of  the  present  has  the  great  advantage  of  past  experiments  from 
which  to  learn  ivliaf  not  to  do  in  his  efforts  to  improve  the  piano. 

The  curiosity  hunter,  and  student  who  desires  more  detailed 
information  regarding  past  experiments  in  piano  construction, 
will  find  entertaining  and  instructive  reading  in  the  various  publi- 
cations on  the  pianoforte  enumerated  elsewhere. 

Great  confusion  exists  among  the  various  writers  on  the  piano- 
forte regarding  the  names  of  the  older  keyed  instruments. 
Clavicytherium,  Clavichord,  Spinet,  Virginal,  and  Harpsichord 
are  often  confounded  with  one  another,  and  some  writers  use 
"  Clavier  "  for  all  these  instruments. 


8 


FORKWOl^D 


111  ()i-(lcr  til  >('curt'  acciirarN ,  1  followed  tlic  (k'veloi)iiR'iit  clirouo- 
logicnll},  as  tiic  most  t rustwortliy  nutliorilii's  record  it,  aiming 
ahva>  >  to  ,ui\t'  a  clear  description  in  as  few  words  as  possible, 
because  this  work  is  written  for  those  wlio  desire  to  know,  and 
who  do  not  care  merely  to  be  entertained. 

IJein.i;-  limited  in  scope  to  past  events,  the  antlior  regrets  espe- 
ciall\-  that  no  particular  mention  could  bo  made  of  the  valuable 
labors  of  lienr>'  Ziegler,  Frank  d.  ('oiioxcf,  Kicliaid  W.  (Jertz, 
Taul  (i.  Meliliu  and  otliers,  who  ai-<'  eai-nestly  engaged  in  improv- 
ing the  heritage  left  us  by  the  masters  of  the  i»ast. 

In  submitting  this  volume  to  the  reader,  the  author  desires  to 
express  his  thanks  to  Messrs.  Tlieodore  C.  Steinway,  William  E. 
Wheeloek,  :\Ielville  Chirk,  J.  H.  White,  George  B.  Kelly,  Ludwig 
J5osen(h)i-fer,  Josef  Herrburger,  dr.,  Siegfried  Hansing,  Paul 
de  Wit  and  ^^orris  Steinert,  for  their  kind  and  \alual)le  assistance, 
without  which  the  work  would  lack  much  important  data. 


Covin  A,  California, 
April,  1911. 


CONTENTS 


PART   ONE 

Technical  Development  of  the  Pianoforte 

CHAPTER  I 

The  Monochoed,  Pytliagoras,  Guiclo  of  Arezzo,  the  Chinese 
Ke 


The  Clavicytherium,  Italy  and  Germany 

The  Clavichord,  Daniel  Faber,  Bach,  Mozart,  Beethoven 

The  Spinet,  Giovanni  Spinnetti 

The  Harpsichord  and  its  development    .... 

CHAPTER  II 

The  Pianoforte,  Christofori,  Marius,  Schroter,  Silbermann 
Backers,  Stein,  German,  Austrian  and  English  Schools 
Friederici 


The  Square  Piano,  Znmpe,  Broadwood,  Erard,  Behrend,  Al 
breclit,  Crehore,  Osborn,  Babcock,  Chickering,  Steinway 
Mathushek 

The  Upright  Piano,  Schmidt,  Hawkins,  Loud,  Southwell 
Wornum,  Pleyel 

The  Grand  Piano,  Geronimo,  Still,  Stodart,  Broadwood 
Erard,  Stein,  Nannette  Stein-Streicher,  Loud,  Jardine 
Chickering,  Steinway,  Bosendorfer,  Kaps 

9 


PAGE 

27 
29 
29 

32 
34 


41 

48 
53 

57 


10  COXTEXTIS 

CHAPTHIJ  ill 


I'AUE 


The  Full  Iron  Frame,  Hawkins,  Allen  and  Tlioin,  Babcock, 

Cbiekerini*-,  Erard,  Broadwood,  Hoxa,  Steinway     .         .       69 

The  Keyi;(>ai;i>,  (Inido  of  Arezzo,  Zarlina,  Kirkman,  Krause, 
Cliromatic  Keyboard,  X'eubaus,  Clndsam,  Paul  von 
Jaiiko,  Perzina  .......  .77 

The  Action,  Sobroter,  Cbristofori,  SiHx'nnaini,  Stein, 
Streiclior,  Znnipe,  Backers,  Erard,  Friederici,  Wornuin, 
Pleyel,  Pape 83 

The  Hammer,  dii-istofori,  Silberniann,  Pajio,  Wilko,  Kreter, 

Matbnsbek,  Collins,  Dolge,  Annnon,  Steinway  ...       97 

The  Soundboard,  Cbladni,  Tyndall,  Helmboltz,  Hansing,  Dr. 

Paul,  Pape,  ]\latbnsliek 106 


CHAPTER  IV 

The  Supply  Industries,  Lumber  (old  and  new  metbods  of 

seasoning),  Felt,  Wire,  Actions 115 

Felt    ^NFaking,    Pape,    Wbitebead,    Naisb,    Billon,    Fortin, 

\Yeickert,  Dolge .       120 

Piano  Wire,  Fnelis,  Webster  &  Ilorsfall,  Aliller,  Poeblmann, 

AVasbburn  cK:  Moen,  II ougbton.  Smith,  World's  Fair  Tests     123 

Actions,  Brooks,  Isermann,  Gebrling,  Herrburger-Scbwan- 
der,  Morgenstern  &  Kotrade,  Lexow,  Langer  cK:  Com- 
pany, Fritz  &  Meyer,  Keller,  Seaverns    ....     126 


CHAPTER  V 

Development  of  the  Player  Piano,  Morse,  Vaueanson, 
Seytre,  Bain,  Pape,  Fonrneanx,  ]\[eTammany,  Cally, 
Bisbop  &:  Downe,  Knster,  Paine,  Parker,  AVliite,  Brown, 
Votey,  rjoolmann,  Ilobart,  Clai'k,  Kelly,  Klngb, 
Welin,  llui)i'eld,  Welte,  Young,  Crooks,  Dickinson, 
Dauquard 131 


CONTEXTS  11 

PART   TW  O 

Commercial  Development  of  the  Piano  Industry 

CHAPTER  I 

PAf;E 

Italy,  Cliristofori,  Fischer,  Sievers,  Roseler,  Mola  .        .        .     166 

Germany,  Silbermann,  Stein,  Nannette  Stein,  Streiclier, 
Scliiedmayer,  Ibacli,  Ritmiiller,  Rosenkrantz,  Irniler, 
Bliitlmer 167 

France,  Erard,  Pleyel,  Herz,  Gaveau,  Bord    ....     171 

England,   Tslmdi,    Broadwood,   Kirkman,    Zumpe,    Collard, 

Brinsmead,   Hopkinson 172 

America,  Cliickering,  MacKay,  Nunns  &  Clark,  Gilbert,  Stein- 
way 174 

CHAPTER  II 

The  Commercial  Piano,  Joseph  P.  Hale 179 

The  Stencil,  Department  Stores,  Consolidations  .         .         .     182 

CHAPTER  III 

The  Art  Piano,  Trasunti,  Hans  Rnckers,  Shudi,  Broadwood, 
Alma  Taclema,  Steinway,  Marquandt,  Sir  Edward  Poyn- 
ter,  Centennicd  Grand  at  the  White  House,  Denning, 
Bosendorfer,  Empress  Elizabeth,  Ibach's  Jubilee  Grand, 
Baldwin,  Barnhorn,  Guest,  Bliitlmer,  Erard,  Pleyel,  Lyon 
&  Co.,  Chickering  Louis  XIV,  Everett  Sheraton  Grand, 
Samuel  Hai/nrird,  Knabe  ''  Nouveau  Art  "  Grand, 
Weber  Louis  XIV  Grand  .......     187 

The  Pedal  Piano,  Schone,  Schumann,  Mendelssohn,  Pleyel, 

Erard,  Pfeiffer,  Henry  F.  Miller 191 

The  Player  Piano •     194 

CHAPTER  IV 

Export,  Steinway,  Aeolian       .......     199 

Methods  of  Marketing,  The  Agency  System       .         .         .     200 


12 


CONTENTS 


CHAPTER  V 

The  Trust  Movemkxts  of  1892,  1897  and  1899. 
Cause  of  Failure 


Plan,  Scope, 


PAOE 


205 


fhcp^ 


PART  THREE 


-  Mcu^WUn  Have  Made  Piano  History 


CHAPTER  i 


Itat.v,  (Jnido  of  AV^zo,  S])innotti,  Geronimo,  Cliristofori, 
Fischer,  Sievers,  R«iieler,  ^lola  ...... 

Germany,  Silbermann,  Steinp[5lannette)  Stein,  Streicher, 
Bosendorfer,  Senffert,  Elirbar,"^  Scliweighofer,  Heitz- 
niann,  T])n('li,  liitniiiller,  Rosenkrantz,  Irmler,  Scliied- 
niayer,  Kaini  c^'  (liintlier,  Dorner,  Lipp,  "Wagner,  Pfeiffer, 
Rolilfing,  Knake,  Adam,  Ilcyl,  Vogel,  Lindner,  Meyer, 
Mand,  (irebanlir,  Tliiirnicr,  Steinweg,  Grotrian,  Zeitter  & 
Winkelinann,  Bnsclnnann,  Raclials,  Sclieel,  Bllithner, 
Roniscli,  Feurich,  Isermann,  Weickert,  Poelilmann   . 

England,  Shiidi,  Broadwood,  (*ollard,  Cliallen,  Ho])kinson, 
Brinsmead,  Eavcstaff,  S(]nire,  Grover,  Barnett,  Poehl- 
mann,  Strohnienger,  AVitton,  Brooks         .... 


215 


217 


242 


CHAPTER  II 

France,  Erard,  Pleyel,  Kalkbrenner,  Wolff,  Lyon,  Herz 
Pai)e,  Kriegelstein,  Gavean,  Bord,  Schwander,  Herr- 
bnrger  

Spain,  Estela,  Gnarra,  Cbassaign,  Montana    . 

Belgium,  Berden,  Van  Hyfte,  Vits,  Boone  Fils,  Gevaert 
Giinther,   Oor 

Netherlands,  Allgiiner,  Cuijpers,  Rijken  and  de  Lange  . 

Scandinavia,  Hornung-  &  Moller,  Ekstrem,  Malmsjoe,  Hals 

Russia,  Diederichs,  Schroder,  Becker     .... 

Japan,  Torakiisu  Yamaha,  Nishikawa  &  Son   . 


251 
262 

263 
263 
263 
264 
265 


CONTENTS  13 

CHAPTER  III 


PAGE 


America,  Creliore,  Osborn,  Babcock,  MacKay,  Stewart,  Chick- 
ering,  Bacon  &  Raven,  James  A.  Gray,  William  Bourne, 
McPhail,  Lindeman,  Scliomacker,  Knabe,  Steinway, 
Hazelton,  Fischer,  Stieff,  Weber,  Steck,  Kimball,  Cable, 
Wulsin,  Starr,  Healy,  Wurlitzer,  Estey,  White,  Packard, 
Votey,   Clark      .      '  .         .         .         .  '      .         .         .         .269 


PART    FOUR 

Influence  of  Piano  Virtuosos  Upon  the  Industry 

CHAPTER  I 

Bach,  Mozart,  Chopin,  Liszt,  Rubinstein,  Biilow,  Joseffy, 
Hofmann,  Rosenthal,  Carreno,  de  Pachmann,  Busoni, 
Paderewski  . 385 

CHAPTER  II 
Testimonials  and  Their  Value 397 

PART   FIVE 

CHAPTER  I 

National    Associations    of    Manufacturers    and    Dealers    in 

Europe  and  America 405 

CHAPTER  II 
The  Trade  Press — Its  Value  to  the  Industry   ....     415 

CHAPTER  III 
Literature  on  the  Pianoforte 423 

CHAPTER  IV 
Conclusions 433 

APPENDIX 

List  of  Firms  Manufacturing  Pianos  and  Supplies  at  the 

Present  Time 443 


ILLUSTRATIONS 


PAGE 


Weber  Pianola  Grand Frontispiece 

Sebastian  Erard Insert        7 


Actions 

Backers '  Hammer  Action,  1776  . 

Brinsmead  Upright  Action 

Broadwood  Upright  Action 

Christofori's  Hammer  Action,  1707  . 

Christofori's  Hammer  Action,  1720  . 

English  Sticker  Upright  Action,  1820     . 

Erard  Grand  Action,  1821  .... 

Erard-Herz  Grand  Action,  1850 

Erard 's  Eepetition  Grand  Action,  1821  . 

Friederici's  Upright  Action,  1745     . 

Herrburger-Schwander  Grand  Action,  Paris 

Herrburger-Schwander  Upright  Action  . 

Keller's  Grand  Action,  Stuttgart,  1909  . 

Langer  Grand  Action,  Berlin,  1909  . 

Langer  Upright  Action       .... 

Loud's  Downward  Striking  Action  for  Square  or  Grand 

Pianos,  1827 

Marius'  Downward  Striking  Hammer  Action 
Marius'  Upward  Striking  Hammer  Action 
Modern  American  Upright  Action  . 
Schroter  Downward  Striking  Hammer  Action,  1717 
Schroter  Upward  Striking  Action,  1717  . 
Seaverns  Upright  Action   .... 
Siegfried  Hansing's  Grand  Action,  1898 
Silbermann's  Hammer  Action,  1728 
Stein-Streicher's  (Nannette)   Grand  Action,  1780 
Stein's  (Johann  Andreas)  Action,  1780  . 
Stein's  Hammer  Action     .... 
Steinway  Grand  Action,  1884     . 

15 


46 
94 
94 
44 
44 
92 
88 
89 
60 
92 
91 
95 
90 
90 
95 

84 
41 
42 
94 
43 
43 
96 
91 
44 
59 
86 
47 
89 


16 


TLU'STKATK^XS; 


AcTioxs,     Continurd 

Steinway's  'rul)nlar  Metallic  Action  Frame,  1866 
Streicher's   (.loliann  l^ai)tist)   Action,  1824   . 
AVesseli,  Nickel  cVc  (Jross'  Grand  Action,  1890 
AVessell,  Nickel  ^:  (ilross'  Upright  Action 
AVornum's  ri)riglit  Action,  1826 
Znnii)e's  llanuner  Action,  17()0-()5    . 


PAGE 

85 
.  87 
.  90 
.  96 
54,  93 
.       46 


Balchvin  (Iraiul  Case  witii  Acoustic  Kim 

Capo  Tasto 

Clavichord,  16tli  Century 
Clavichord,  17th  Century 
Clavicvtherium,   14tli  Centurv 
De  Wit  Tuning  the  Clavichord,  Paul  . 
Dulcimer 


Insert 


64 
61 
30 
31 
29 
427-428 
.   43 


H.VLLS 

Chickering  Hall,  New  York 
Gewandliaus  (Old),  Leipsic 
Gewandhaus  Saal  (Old),  Leipsic 
Gewandliaus  (New),  Leipsic 
Gewandhaus  Saal  (New),  Leipsic 
Saal  Hliithner,  Berlin  . 
Saal  Bosendorfer,  Vienna  . 
Salle  Erard,  Paris 
Salle  Plevel,  Paris       . 
Stein wav  Hall,  New  York  , 


Insert 

391 

Insert 

386 

Insert 

387 

Insert 

388 

Insert 

389 

Insert 

400 

Insert 

401 

Insert 

398 

Insert 

399 

Insert 

390 

Hammers 

Anunon  Hanuner  

Anunon-Dolge  Hammer       .... 

Christofori  Hammer 

Hammers  Covered  with  Leather 
Hammers  Covered  with  Leather  and  Felt 
Machine-covered  Felt  Hammer,  1871 
Molding  for  Ammon-Dolge  Hammer 
Single  Coat  Felt  Hanuner  for  (^irand  Pianos 
Single  Coat  Felt  Hammer  for  Upright  Pianos 
Steinwav  Saturateil  Hammer     .... 


104 

105 

97 

97 

98 

99 

105 

102 

102 

105 


ILLUSTRATIONS 


17 


Hammers.     Continued  page 
I )olge-Gardener  Compressed  Air  Hammer-Covering  Ma- 

cliine,  1910 103 

Dolge  Hammer-Covering  Machine,  1887         .        .        .    100,  101 

Harp,  Lyon  &  Healy Insert  352 

Harpsicliord,  1521 35 

Harpsichord,  1531,  Alessandro  Trasunti's  Art  .        .      Insert  190 

Harpsichord  with  Double  Keyboard,  End  of  16th  Century  .  36 

Harpsichord,  Middle  of  17th  Century 37 


Iron  Frames 

Allen  and  Thorn's  Grand  Bracing  System,  1820  . 

Babcock's  Full  Iron  Frame,  1825 

Baldwin  Upright  Iron  Frame,  1910 

Broadwood  &  Sons'  Barless  Grand  Steel  Frame,  1910 

Broadwood  &  Sons'  Barless  Upright  Steel  Frame,  1910 

Chickering's  Full  Iron  Frame,  1837 

Chickering  Grand  Iron  Frame,  1843 

Conover  Bros.'  Upright  Iron  Frame,  1885 

Erard's  First  Iron  Bar  Grand  Piano,  1823 

Grotrian's  Grand  Iron  Frame,  1910 

Mason  &  Hamlin  Grand  Iron  Frame,  1910 

Steinway's  Full  Iron  Frame,  with  Overstrung  Scale,  1855 

Steinway's  Grand  Iron  Frame,  1859 

Steinway  &:  Sons'  Grand  Iron  Frame,  1875 — Front  View 

Steinway  &  Sons'  Grand  Iron  Frame,  1875 — Back  View 


70 
50 
74 
75 
75 
51 
62 
55 
60 
74 
76 
52 
63 
72 
73 


Ke,  Chinese,  2650  B.  C. 


28 


Keyboards 

Cludsam's  Concave  Keyboard,  1010 

Janko-Perzina  Keyboard,  1910 

Perzina's  Action  for  Practice  Clavier  for  Janko  Keyboard 
Perzina's  Kev  for  Janko  Kevboard,  1910 
Perzina's  Practice  Clavier  for  Janko  Keyboard  . 
Perzina's  Reversible  Key-bottom  for  two  Keyboards 

Monochord,  582  B.  C 

National  Association  of  Piano  Dealers  of  America,  Presi- 
dents of,  from  1902  to  1911 Insert 


78 
79 
82 
81 
82 
81 

27 
411 


18  ll.Ll  sriJA'l'loXS 


PAGE 


Insert 

190 

Insert 

190 

•                • 

45 

Insert 

190 

Insert 

190 

Insert 

190 

Insert 

190 

Tiisoi-t 

190 

insert 

190 

Insert 

190 

Xatioiml    Associntioii   of   Piano    Maiiiil'actiirers   of  America, 
Presidents  of,  iruni  1S97  to  i'Jil       ....      Insert     410 

TlAXOS 

iJnIdwiii    .\rt    (iiaiid 

(  hickeiiiiu  A:  Sons'  [jonis  XW.  Art  Grand     . 
( 'lii-i^lofori '^  I'iaiio  e  I'orle,  1/11 

Ei'a rd    All    (iiaiid 

Everett   I'iaiio  ( 'oiiipaiix-  Slieraton  Art  fli-aiid 
Joliii   I'.i'oadwood  cV  Sons'  Ail  Grand 

.Inlins   I)liitlnier  Ail  (Jrniid 

Liidwiii'  IJoseiidoi  ter  Art   (I  rand        .... 
rieyel,  l.yon  cV'  ('oni))any  Renaissance  .\.it  (Iraiid  . 
I\ndoir  Ibacli  Sohn  Jnbilee  Art  Grand     . 
Steinway  &  Sons'  Art  Grand,  made  for  Frederick  Mar- 

qnaiidt Insert     190 

Steinway  &  Sons'  Onedmndred-tlionsandtli  Piano,  at  the 

A\'iii1e   IPmse Insert     190 

Weber  Lonis  XIV.  Art  Grand Insert     190 

William  Kiiabe  &  Co  *'  Xonvean  Art  "  Grand     .      Insert     190 

Albrecht's  S(|nare  Piano,  1789 50 

Friederici's  Scinare  Piano,  1758 49 

Znm])e's  Srinarc  J*iaiio,  17(10-^5 47 

Hawkins'  l^pright  Piano,  1800 53 

Pleyel,  Lyon  &  Company  Gothic  Uprii>lit       .        .      Insert     190 

Sonthweli's  U])right  Piano,  1807       .    ^ 54 

Piano,  .Malliushek's  Table 323 

Pfeiffer's  (Carl  d.)  Action  for  Pedal  Upright  Pianos  .  .  192 
Pfeiffer's  (Carl  d.)  Attachment  for  Pedal  Grand  Piano  .  1!)2 
PfeitTer's  (Carl  d.)  Mechanism  for  Organ  Pedal  Practice  .  193 
PfeilTer's  (Carl  J.)   Ppriglit  Piano  for  Pedal  Practice       .      193 


PiAXo  Pl.wers  and  Playi:u  Pianos 

Bishop  &  Downe's  Keyboard  Attacliment,  1883  ...  139 
Brown's  (Theodore  P.)  Interior  Player,  1897  .  .  .150 
Clark's  (^relvillo)  Stroke  Pntton  in  front  of  Fnlcrnm  .  156 
Claik's  (Melville)  Transposing  Device,  18'J9  .  .  .151 
Clark's  (Melville)  Transposing  Device,  1902  ....  152 
Crook's  (J.  W.)   Themodist,  1900 161 


ILLUSTRATIONS                           01^  19 

Piano  Players  and  Player  Plvxos.     Continued  page 

Danqnard's  (Thomas)  Flexible  Finger  Mechanism,  1904  .  155 

FoLirueaux's  Pianista 134,  135 

Gallv's  (Merritt)  Player  Mechanism,  1881     .        .        .        .  138 

Gooiman's  (F.  R.)  Harmonist  Player,  1898  ....  153 

Hobart's  (A.  J.)  Fndless  Tmie  Sheet,  1908  ....  154 

Hupfeld's  (Liidwig)  Phonohi  Player,  1902   .        .        .    158,  159 

Keeley-Danquard  Temponomc,  1911 162 

Kelly's  (George  B.)  Wind  Motor  with  Slide  Valves,  1886  .  139 

Khigh's   (Paul  B.)   Auxiliary  Key,  1906       ....  153 

Kiister's  (Charles  A.)  Mechanical  Instrument,  1886  .        .  140 

McTammany's  (John)  Automatic  Playing  Organ       .        .  137 

Parker's  (William  D.)  Automatic  Piano,^1892     .        .    141,  142 

Votey's  (Edwin  S.)  Cabinet  Player  Pianola  .        .        ...  149 

Welin's  (Peter)  Individual  Valve  System  .  .  .  .  157 
White   &  Parker's   Automatic   Piano   Player  in   Cabinet 

Form,  1897 145,  146,  147,  148 

White  and  Parker's  Combination  Upright  Piano  and  Reed 

Organ,  1895 143,  144 

Young's  (F.  L.)  Metrostyle,  1901 161 

Portraits 

Andre,  Carl .  408 

Bach,  Johann  Sebastian 385 

Bauer,  Julius 362 

Bechstein,   Carl 236 

Becker,  Jacob 264 

Behning,  Henry 319 

Beethoven,  Ludwig  von 387 

Bietepage,  A 265 

Blonclel,  Alphonse 254 

Bliithner,   Julius 235 

Bond,  S.  B .       .373 

Bosendorfer,  Ludwig 220 

Briggs,  Charles  C 293 

Brinsmead,  John 247 

Brinsmead,  Thomas  James 248 

Broadwood,   John 243 

Billow,  Hans  von 391 

Burns,  Francis  Putnam       ........  287 

Bush,  William  H 356 


20 


ILLUSTRATIONS 


V',\hU\  II.  I).   . 
( 'anipbell,  John  C. 
Carreno,   Teresa    . 
Chase,  Braton  S.   . 
Cliickering,  C.  Frank 
Cliickcriii^,  (Jeorge  II. 
(Miickering,   Jonas 
( flickering,  Thomas  E 
(Mi()))iii,   Freck'ric   . 
('Iiiii'cli,   John 
(lark,  Melville 
Conover,  J.  Frank 
( Oiiway,  Fdwin  S. 

I  )('('k('r,   Myron  A, 
De  Pachmann 
Fhrbar,   Fi-iedi'ich 
Engelhardt,  Frederick 
Era  1(1,  Sebastian   . 
Estey,  Jacob   . 
Estev,  Jnlins  . 
Fisciier,  (diaries  8. 
Friedcrici,  C.  E.    . 
Fnller,  Levi  K. 
(Jabler,  Ei-nest 
{Jennett,  Henry 
Oross,  Jacob  . 

I I  allies,  Na]ioleon  J. 

I  la  Ic,  J()S('])li    P. 

II  a  using,   Siegfi'ied 
lla/elton,   Henry    . 
licaly,  P.  J.     . 
Ileintzmann,  Theodore 
Ilerrlnn-ger,  Josef 
Ileiz,   Henry    . 
Hofinann,  Josef     . 
Ibach,  Carl   Kndolf 
ll)acli,  Johannes  Adolf 
Ibach,  Kndolf 
Irnilei',  J.  G.   . 
Iniilcr,  ( )swald 
Isennann,  J.  ( '.  L. 
Jacob,   Charles 


A. 


PAGE 

343 
335 

398 
358 
274 
275 
271 
273 
388 
338 
377 
344 
341 
317 
397 
221 
379 
253 
363 
366 
289 
48 
365 
314 
349 
291 
296 
180 
426 
288 
350 
313 
261 
258 
400 
223 
222 
224 
225 
226 
238 
321 


ILLUSTRATIONS  21 

PAGE 

Jacob,  C.  Albert 322 

Janko,  Paul  von 80 

Joseffy,  Rafael 392 

Kelly,  George  B 332 

Kimball,  William  Wallace 340 

Knabe,  Ernest 283 

Knabe,  William 282 

Krakauer,  Simon 327 

Krell,  Sr.,  Albert 357 

Kriegelstein,  Charles 259 

Kurtzmann,  Christian 292 

Lee,  Frank  A 339 

Lindeman,  Henry 280 

Lindeman,  William 279 

Liszt,  Franz 389 

Lufkin,  W 342 

Lyon,  Gustave 406 

Mason,  J.  R 372 

Mathushek,  Frederick 324 

McTammany,  John 136 

Miller,  Henry  F 337 

Mozart,  Wolfgang  Amadeus 386 

Paderewski,  L  J 399 

Patzschke,  C.  W 240 

Perkins,  Edward  R.       . 330 

Pfriemer,  Charles 382 

Pleyel,  Camille 256 

Pleyel,  Ignace 255 

Poehlmann,  Moritz 242 

Post,  Charles  N 352 

Powers,  Patrick  H 294 

Rachals,  Edward  Ferdinand 234 

Rachals,  Mathias  Ferdinand 233 

Ronisch,  Carl 237 

Rosenthal,  Moriz 393 

Rubinstein,  Anton 390 

Schiedmayer,  Sr.,  Adolf 229 

Schiedmayer,  Adolf 407 

Schiedmayer,  Hermann 230 

Schiedmayer,  Johann  David 227 

Schiedmayer,  Johann  Lorenz 228 

Schiedmayer,  Julius 231 


22 


ILLUSTEATIOXS 


Rc'liiodmayer,  Paul 
Scliiuidt,  .loliii  Frcdci'ick 
Sclioniaeker,  Juliii  Jk'iiry 
St'lirodcr,  ( 'ai'l   Xicolai 
Schroder,  Joliaiin  J"'riedrici 
Scliriitor,  (Miristopli 
Sclmlz,   Matliias 
Sell  III;/.,    <  >tt()    . 
Scliwander,  .Jean    . 
8ea\rnis,  (Jeor.^e  AV.    . 
Slioiiiiiger,  Bei'iiliard    . 
Soliiner,  TTiigo 
Siiiitli,  Freeborn  G. 
Starr,  Benjamin    . 
Steck,  George 
Steger,  John  V. 
Stein  way,  Alliei't    . 
Stciinvay,  Charles 
Steiiiway,  C.  F.  Theodore 
Stciiiwav,  Ilenrv   , 
St  ('ill  way,  Henry,  Sr.   . 
Si  ('in  way,  William 
Sterling,  Charles  A. 
Stieft",  Frederick  P.       . 
Story,  Edward  H. 
Story,  Hampton  L, 
Tremaine,  Harry  B. 
Tremaine,  AVilliam  B.  . 
Vose,  James  Whiting  . 
Votey,  Edwin  S.     . 
Watson,  Henry  C  . 
Weber,  All)ert 
Weickert,  August  Moritz 

Weiekert,  Otto 
Wessell,  Otto  . 
Whoelock,  William  E.  . 
Wliite,  Edward  H. 
White,  Henry  Kii'k 
White,  J  Toward 
White,  James  H.  . 
Whitney,  Calvin     . 
Wolff,  Auguste 


PAGE 

232 
381 
281 
263 
262 
42 
359 
360 
260 
127 
316 
320 
315 
348 
318 
361 
311 
306 
303 
307 
300 
308 
371 
290 
376 
375 
329 
328 
295 
331 
416 
297 
239 
241 
380 
326 
369 
367 
370 
368 
374 
257 


ILLUSTRATIONS  23 

PAGE 

Wulsin,  Lucien 345 

Wurlitzer,  Kndolpli 354 

Yamaba,  Torakusii 266 

Resonator,  Ricliarcl  W.  Gertz's 110 

Resonator,  Detail  of  Richard  W.  Gertz's Ill 

Spinet  Jack 32 

Spinet,  Rossi's,  1550 33 

Spinet,  1560,  Hans  Ruckers'  Double     ....     Insert  190 

Spinet  of  Spinuetti,  1503 32 

Steinert  at  the  Clavichord,  Morris       .        .        .       Insert     427-428 

Virginal,  16th  Century 34 


PART    ONE 

Technical  Development  of  the  Pianoforte 

CHAPTER  I 

The  Moi^ochord,  Pythagoras,  Guido  of  Arezzo,  the  Chinese  "  Ke."^ 

The  Clavicytherium,  Italy  and  Germany. 

The  Clavichord,  Daniel  Faber,  Bach,  Mozart,  Beethoven. 

The  Spinet,  Giovanni  Spiniietti. 

The  Harpsichord  and  its  development. 


PIANOS  AND  THEIR  MAKERS 

PART  ONE 

Technical  Development  of  the  Pianoforte 

CHAPTER  I 

The  Phototype  of  the  Pianoforte 
The  Monochord 

THIS  instrument  was  used  by  Pythagoras  (582  B.  C.)  for 
experiments  regarding  the  mathematical  relations  of 
musical  sounds.  A  single  string,  presumably  catgut,  was 
strung  over  a  wooden  box.  Directly  underneath  the  string  a  strip 
of  paper  was  glued  to  the  top  of  the  box,  on  which  the  sections 
and  subdivisions  corresponding  with  the  intervals  of  the  scale 
were  marked.  Pressing  the  string  down  upon  a  given  mark,  and 
then  plucking  it,  a  tone  was  produced,  high  or  low,  according  to 
the  place  of  the  scale  where  the  string  was  held  down  with  the 
finger. 


Monochord,  582   B.C. 

27 


28 


piAxos  Axi)  tttp:;ti{  .makers 


The  moiiocliord  caiiie  into  universal  use  among  the  Greeks,  and 

also  ill  tlie  Ixoninn  cliurches  as  an  instrument  to  sound  the  keynote 

for  chorus  singing-.    To  assure  a  (|uicker  and  especially  more  eor- 

--jL.  rect  intonation,  Guido  of  Arezzo   (about  100  A.  D.)    invented  the 

movable  bridge  under  the  string  of  the  monoehord.* 


Chinese  Ke,  2650  B.C. 


After  the  invention  of  the  movable  bridge  for  the  monoehord 
further  im])rovements  came  rapidly.  The  clavis  (keys),  which 
came  in  use  on  church  organs  shortly  after  the  year  1000  A.  !)., 
were  a|)plied  to  the  monoehord,  which  then  was  built  with  more 
than  one  string.  Each  clavis,  or  key,  had  a  tangent,  or  pricker. 
As  soon  as  the  clavis  was  pressed  down,  this  tangent  would  prick 
the  string  on  the  proper  division  of  the  scale  and  thus  assure  the 
sounding  of  the  correct  tone  recjuired  for  the  guidance  of  the 
singers. 

The  use  of  the  clavis  soon  led  to  an  increase  in  the  number 
of  strings  and  during  the  12th  and  13th  centuries  many  experiments 


*  The  (  liinese  as  early  as  2650  B.C.  used  an  instrument  called  "  kc."  far  superior  to 
the  monoehord.  The  ke  had  fifty  strings  strung  over  a  wooden  box  approximately  five 
feet  long.  Each  string  was  spun  of  eighty-one  fine  silk  threads,  and  of  such  length 
that  an  experienced  player  could,  by  proper  manipulation,  produce  the  upper  and  lower 
fifth  of  each  tone  on  the  string  which  he  pricked  or  plucked. 

Later  on  the  ke  was  improved  hy  the  use  of  movable  bridges,  one  for  each  string; 
the  numlier  of  strings  was  reduced  to  twenty-five,  and  the  bridges  were  arranged  in 
groups  of  five,  each  group  distinguished  by  a  different  color; — group  1,  blue;  2,  red;  3, 
yellow;  4,  white;  5,  black.  This  indicates  that  the  Chinese  understood  the  relation 
of  colors  to  tone.  It  can  readily  be  seen  that  an  expert  performer  could  produce  a  great 
variety  and  combination  of  tones  by  aid  of  the  movable  bridges.  Indeed  the  Chinese 
considered  the  ke  the  acme  of  musical  instnnnents,  and  the  virtuosos  and  masters  of 
the  ke  sj)<)ke  of  it  and  its  use  as  enthusiastically  and  admiringly  as  Bach  and  Beethoven 
spoke  of  the  clavichord  nearly  4,000  years  later. 


THE  CLAVICHORD 


29 


were  made  to  construct  an  instrument  which  would  give  all  the 
notes  of  the  scale  correctly. 

These  experiments  led  finally  to  the  invention  of  the  "  clavicy- 
therium." 

The  Clavicytherium 

This  is  an  instrument  in  which  the  strings  were  arranged  in 
the  form  of  a  triangle  (harp  form).  The  strings  were  of 
catgut,  and  sounded  by  the  pricking  of  a  quill  plectra,  fastened 
to  the  end  of  the  clavis.  Fetis  believes  that  the  clavicytherium 
was  invented  in  Italy  about  1300  and  afterwards  copied  and  im- 
proved by  the  Germans.  The  efforts  to  improve  the  instrument 
finallv  developed  the  "  clavichord." 


Clavicytherium,    14th   Century 


The  Clavichord 

The  first  clavichords,  built  during  the  15th  century,  had  only 
20  or  22  strings  of  brass,  which  were  made  to  vibrate,  not  by  pluck- 
ing or  pricking,  but  by  being  agitated  through  the  pressure  of  a 
tangent  (a  brass  pin  flattened  on  top)  fastened  to  the  clavis.  The 
form  of  the  clavichord  was  similar  to  the  later  square  piano. 


30 


PIANOS  AXl)  TllKiK  .MAKP^RS 


Toward  the  end  of  the  I'llli  .iiid  llic  l)e,uiiiiiiiio-  of  tlic  ITtli  century, 
it  wix.^  iiiii>i'o\L'd  .--c)  iiiueli  llial  il  ht'caiiic  llic  t'avoi'ite  kc-'yed  iiistru- 
iiU'iit  of  tlic  ]>(M'iod.  Tt  maiiitaliKMl  its  sii])ronia('y  diiriiiii'  tlic  IStli 
eeiitiir\\  huig- after  the  apiicaraiicc  of  the  pianoforte.  The  accom- 
panying ]ii('tin-e  shows  a  claxiclnird  with  oU  keys  (tlicrc  ai'e  some 

ill  cxistcnee  with  77  keys)   and  a 


I  7)  bridges,  simi- 


soundhoai'd  w 

lar  to  tlic  ( 'liiiicse  ke.  The  sound- 
board covers  onl\-  lialf  of  the  in- 
strumenl,  tlic  paft  where  the  keys 
are  located  being  open  of  neces- 
sity. 

The  clavichord  usually  has 
more  keys  tlian  strings,  since 
the  tangent,  in  striking,  gives 
tone  and  ])itch  at  the  same  time. 
Most  clavichords  have  two  keys 
to  each  string,  some  three,  while 
on  the  earlier  clavichords  we  find 
two  tangents  fastened  to  one  key, 
and  the  ])erformer  had  to  manii)n- 
late  tlie  key  so  as  to  make  eacli 
tangent  strike  at  the  i)roper 
i)lace.  This  was  rather  difficult 
and  made  the  execution  of  any 
but  the  simplest  compositions 
almost  impossible.  Still,  it 
was  not"  until  J"-5  that  a  claviclicvd  was  constructed  by 
Daniel  Faber  of  Germany,  which  had  a  separate  string  and 
key  for  each  note.  To  prevent  vibration  and  consequent  irri- 
tating sounding  of  the  shorter  part  of  the  string  when  agitated 
by  the  tangent,  a  narrow  stri])  of  cloth  was  interlaced  with  the 
strings. 


Claviohoiil.   lUth  Century 


THE  CLAVICHORD 


31 


Thus  the  clavichord  possessed  four  of  the  most  vital  points 
of  the  modern  pianoforte:  The  independent  soundbuard,  metal 
strings^  the  percussion  method  of  af/itatinr/  the  string,  the  tangent 
touching  or  striking  the  string,  instead  of  plucking  or  pricking, 
and  lastly  tJie  applieoiion  of  the  doinper.  The  greatest  improve- 
ment was  the  new  method  of  tone  production  by  which  the  clavi- 
chord became  the  first  keyed  instrument  enabling  the  performer 
to  express  his  individuality. 

While  the  tone  of  the  clavichord  was  very  weak,  it  was  capable 
of  reflecting  the  most  delicate  gradation  of.  touch  of  the  player  and 
})ermitted  the  execution  of  most  exquisite  crescendo  and  decre- 
scendo.  The  Mangfarbe  (tone  color)  of  the  clavichord  was  of  a 
very  sympathetic,  almost  spiritual  character.  Virtuosos  like 
Johann  Sebastian  Bach  and  Emanuel  Bach  produced  charming  and 
captivating  effects  by  a  trembling  pressure  of  the  finger  upon  the 
key,  holding  the  notes,  thus  emphasizing  the  intention  of  the  player 


Clavichord,  17th  Century 


32 


PIANOS  AXi)  TIIETK  MAKHRS 


Spinet  Jack 


ill  interpreting  a  composition.  In  short, 
tlio  clnvicliorrl  was  the  first  keyed  instru- 
ment with  a  soul.  Tt  is  not  surprising  that 
such  masters  as  Bach,  Mozart  and  even 
Beethoven  preferred  the  clavichord  to 
the  more  i)oweri'ul  harpsicliord  and  the 
early  pianoforte.  Indeed,  Mozart,  while 
traveling  al)()ut  Europe  as  a  piano  vir- 
tuoso, carried  a  clavichord  with  him, 
for  daily  })ractice.  Mozart  composed 
his  "  Magic  Flute  "  and  other  inaster- 
])ieces  on  tliat  instrument. 

However,  the  small,  weak,  though 
sweet  and  musical  tone  of  the  clavi- 
chord did  not  satisfy  many  of  the  music 
lovers.  They  desired  an  instrument  which 
would  s]K>nk  louder. 


The  Spinet 

About  150.3  (xiovanni  S|)innetti,  of  Venice,  constructed  an  in- 
strument of  oblong  form, 
with  a  compass  of  four  oc- 
taves. This  oblong  form  en- 
abled Spinnetli  to  use  very 
long  strings  and  a  larger 
soundboard,  covering  nearly 
the  entire  space,  thus  mate- 
rially increasing  the  tone 
volume.  These  long  strings, 
however,  could  not  be  agi- 
tated effectually  by  a  strik- 
Pinot  of  spinnetti,  1503  ^^^  tangent;   it  was  neces- 


THE  SPINET 


33 


sary  to  set  the  strings  in  motion  by  pricking  or  twanging.  We, 
therefore,  find  on  the  clavis  of  the  spinet,  a  "  jack  "  with  cen- 
tered tongue  on  its  upper  end.  Into  this  tongue  a  quill,  fastened  to 
a  spring,  is  inserted,  and  when  the  key  is  pressed  down,  the  point 
of  the  quill  twangs  the  string  through  the  upwai-d  movement  of 
the  jack.  A  small  piece  of  cloth,  fastened  to  the  jack,  dampens  the 
string  as  soon  as  the  jack  comes  down  again  to  its  natural  posi- 
tion.   This  instrument  was  called  a  "  spinet,"  after  the  inventor. 

Although  this  twanging  of  the  string  produced  a  wiry,  nasal 
tone,  and  the  player  could  not  play  with  any  expression,  as  on  the 
clavichord,  the  spinet  became  very  popular,  because  of  its  greater, 
louder  tone.  Spinets  were  built  in  sizes  from  Sy^  to  5  feet 
wide.  The  smaller  instruments  could  be  easily  carried  about,  and 
were  usually  played  upon  a  table,  which  increased  the  resonance. 
Spinnetti  had  placed  the  keyboard  outside  of  the  case,  but  about 
1550  Rossi  of  Milan  built  spinets  in  which  the  keyboard  was  within 
the  case. 

In  England  the  spinet  became  generally  known  under  the  name 
of  ''  virginal,"  and  many  writers  have  fallen  into  the  error  of 
assuming  that  the  virginal   differs  materially  from   the   spinet. 


Rossi's  Spinet,  1550 


34 


PIANOS  AXJ)  TUVAM  MAKERS 


Careful  comparisons  of  spinets  and 
so-palk'(l  \ii-ginals,  by  competent 
judges,  have  established  the  fact 
that  there  is  no  vital  difference 
to  be  found. 

Xatui-nlly,  the  vai-ious  Iniilders  of 
s})inets  in    Italy,  Germany,  Flanders, 
and  especially  England,  ex})erimented 
ill  iii.iiiy  ways  to  improve  the  volume 
and   (lunlity    of   tone   as   well    as   the 
form   of   tlie   case.      Rimbault   repro- 
duces    a     i)en-and-ink-sketcli     of     a 
'<  virginal,  made  harp  fashion,"  ap- 
parently   built    at    the    end    of    the 
16th  century,  which   might  be 
considered    tlie    prototype    of 
the  upright  piano  of  the  pres- 
ent day.    If  this  drawing  is  cor- 
rect, a  rather  complicated  ac- 
tion  nmst   have   been   used   to 
get  the  plectra  in  motion. 
From  specimens  of  spinets  or  virginals  now  extant,  the  conclu- 
sion may  be  drawn  that  tlie  Euro]iean  continental  makers  gave 
the  triangular  form  the  preference,  while  English  makers  used 
the  square,  oblong  and  upright  forms.   The  (juill  or  wing  form  (Ger- 
man fiigd)   identical  with  the  form  of  the  present  grand  piano 
and  later  used  entirely  for  the  "  harpsichord,"  seems  to  have 
been  iirst  used  by  Geronimo  of  Bologna  (1521). 


Virginal.   Kith   Century 


The  Harpsichord 

The  adoption  of  this  form  was  dictated  by  the  desire  for  a 
greater  volume  of  tone.     Indeed,  the  early  harpsichord  was  in 


THE  HARPSICHORD  35 

all  its  features  (except  the  wing  form)  only  an  enlarged  spinet. 
The  larger  case,  greater  soundboard  and  greater  number  of 
much  longer  strings  of  the  harpsichord  opened  a  new  field  for 
inventive  genius.  While  the  tone  produced  on  the  longer  string 
had  a  greater  volume  and  was  louder  than  that  of  the  spinet,  it 
was  at  the  same  time  harsher,  raw,  more  nasal  and  almost  offen- 
sive to  the  ear.  When  used  with  the  orchestra  this  serious  fault 
was  not  so  noticeable,  but  for  solo  performances  the  harpsichord 
was  very  unsatisfactory.  To  overcome,  or  at  least  mollify  this 
harshness,  many  experiments  were  made,  even  to  desperate 
attempts  to  attach  a  mechanical  orchestra  to  it,  adding  devices 
which  were  to  imitate  the  lute  and  flute,  operated  by  stops;  also, 
by  means  of  pedals,  a  complete  Janissary  music,  including  snare 
and  bass  drum,  cymbals,  triangle,  bells  and  other  noisy  instru- 
ments. In  accordance  with  the  variety  of  these  appendages  the 
number  of  pedals  increased,  and  harpsichords  with  as  many  as 
25  pedals  are  still  to  be  found. 

Of  all  those  manifold  experiments  only  four  have  proved  of 
permanent  value.  The  "  forte  stop,"  which  lifted  the  dampers; 
the  "  soft  stop,"  which  pressed  the  dampers  on  to  the  strings  to 
stop  the  vibration;  the  ''  buff  stop,"  interposing  soft  cloth  or 
leather  between  the  jacks  and  the  strings,  and  lastly  the  ''  shift- 


Harpsieliord,  1521 


36 


PIANOS  AND  THEIR  MAKERS 


ing  stop,"  whicli  sliifted  the  entire  keyboard,  a  movement  later 
applied  to  the  transposing  keyboard. 

In  the  effort  to  produce  greater  volume  of  tone  the  makers  con- 
tinued to  increase  the  size  of  the  harpsichord  until  it  had  reached 
the  extreme  length  of  Ifi  feet.  Very  thin  wire  had  to  be  used  for 
the  strings,  since  the  frail  cases  would  not  stand  the  increased 
tension  of  heavier  wires,  nor  could  the  flimsy  quill  plectra  make 
the  heavy  wires  vibrate  well.  The  longer  the  string  of  thin  wire, 
the  less  musical  was  the  tone  produced  by  twanging,  and  the  best 
makers  returned  to  the  length  of  8  to  10  feet,  seeking  to  improve 
tone  quality  and  volume  by  increasing  the  number  of  strings  from 
one  to  two,  three  and  even  four,  for  each  note. 


Harpsichord  willi  Double  Keyboard,  End  of   16th  Century 


THE  HARPSICHORD 


37 


About  the  middle  of  the  17th  century,  harpsichords  with  two 
keyboards  and  three  strings  for  each  note  were  built.  The  third 
string,  usually  hitched  to  the  soundboard  bridge,  was  thinner  and 
shorter  than  the  two  main  strings  and  tuned  an  octave  higher 
than  the  main  strings.  With  the  two  keyboards  the  player  could 
use  the  two  or  three  strings  of  each  note  separately  or  together. 
Because  of  these  improvements,  especially  the  forte  piano  pedals, 
and  the  greater  tone^  musicians  preferred  the  harpsichord  to  the 
spinet,  and  many  compositions  were  written  for  it  from  Scarlatti's 
time  (1670)  to  Beethoven's  ''  Moonlight  Sonata  "  (1802). 

Toward  the  end  of  the  18th  century,  when  the  pianoforte  began 
to  take  the  place  of  the  harpsichords,  attempts  were  made  to  im- 
prove the  tone  quality  of  the  harpsichord  by  using  buff  leather 
at  the  points  of  the  jack,  instead  of  quills,  but  evidently  without 


Harpsichord,  Middle  of  ITtli  Century 


-38  PIANOS  AND  TIIKIK*  MAKEKS 

success.  Tlic  i'act  tliat  the  liari)sicliord,  like  the  spiuet,  gave  the 
])hiyei-  no  ]iossil)lo  ()p])()rinnity  to  exercise  any  artistry,  as  on 
the  clavichord  or  the  i)ianoforte,  sealed  the  doom  of  the  instru- 
ment, ,111(1  with  the  end  of  the  18th  century  the  end  of  the  harpsi- 
chord had  come,  leaving  for  the  pianoforte  maker,  however,  the 
valuable  inventions  of  the  n-'nig-foruicd  case,  the  use  of  the  two 
and  flircc  striiif/s  for  one  note,  and  lastly  the  forte  piano  pedal 
and  shifting  keyboard,  all  of  which  are  eml)odied  in  the  present-day 
piano. 


PART    ONE 

CHAPTER  II 

The  Pianoforte,  Christofori,  Marius,  Scliroter,  Silbermann,  Back- 
ers, Stein,  German,  Austrian  and  English  Schools,  Friederici. 

The  Square  Piano,  Zumi^e,  Broadwood,  Erard,  Behrend,  Albrecht, 
Crehore,  0 shorn,  Bahcock,  Chickering,  Steinway,  Mathushek. 

The  Upright  Piano,  Schmidt,  Hawkins,  Loud,  Southwell,  Wornum, 
■    Pleyel. 

The  Grand  Piano,  Geronimo,  Still,  Stodart,  Broadwood,  Erard, 
Stein,  Nannette  Stein-Streicher,  Loud,  Jardine,  Chickering, 
Steinway,  Bosendorfer,  Kaps. 


PART    ONE 

CHAPTER  II 

The  Pianoforte 

THE  desire  to  combine  tlie  wonderful  tone  sustaining  capacity 
of  the  clavichord  with  the  power  of  the  harpsichord,  was 
shared  by  musicians  as  well  as  builders.  No  doubt  many 
builders  attempted  to  put  a  hammer  action  into  the  harpsichord. 
Marius  of  Paris  submitted  (1716)  three  models  of  harpsichord  ham- 
mer actions  to  the  Academy  of  Sciences,  but  apparently  no  instru- 
ments have  been  built  containing  his  action,  probably  because  a 
hammer  action,  to  be  effective,  required  a  different  construction  of 
the  entire  instrument  than  that  of  the  harpsichord.  It  seems  much 
more  reasonable  to  assume  that  the  dulcimer  (the  German  hack- 
brett),  which  was  played  upon  with  hammers  held  in  the  hands 
of  the  performer,  similar  to  the  xylophone,  led  to  the  invention 
of  the  pianoforte. 

It  is  not  surprising,  that,  at  a  period  when  all  makers  of  harpsi- 
chords were  struggling  for  tone  improvement,  three  inventors, 


Marius'  Dow-nward  Striking  Hammer  Action 
41 


42 


PIANOS  AXn  THEIR  MAKERS 


ir.(lo])en(kMit  of  one  an- 
other, should  strike  the 
same  idea  at  about  the 
same  time — Christofori  in 
17U7,  Marius  in  171G  and 
Sehroter  in  1717.  Chris- 
to2)h  Sehroter,  a  German 
organist,  submitted  his 
models  of  hammer  actions, 
one  with  upward  and  one 
with  downward  movement, 
to  the  King  of  Saxony  in 
1721,  claiming  that  these 
models  had  been  finished 
in  1717.  Sehroter  de- 
clared that  the  idea  of  a 
hammer  action  came  to 
him  after  hearing  the  vir- 
tuoso, Ilebenstreit,  perform  on  his  monster  hackbrett  (dulcimer) 
called  "  Pantaleon."  Simple  and  crude  as  Sehroter 's  action  is,  it 
must  be  considered  the  fundamental  of  what  later  on  became  known 
as  the  German,  more  particularly,  "  Vienna  "  action.  The  idea  of 
having  the  hammer  butt  swing  in  a  fork,  as  Sehroter 's  model  shows, 


Christoph  Sehroter 


Marius'  Upward  Striking  Hammer  Action 


THE  PIANOFOETE 


43 


Dulcimer 


Schroter  Upward  Striking  Hammer  Action,  1717 


Scliruter  Downward  Striking  Hammer  Action,  1717 


44 


PIANOS  AND  THEIR  MAKERS 


Silbermann's  Hammer  Action,  17:^8         f^' 


-J  ^/^^f.^^■*' 


Christofori's  Hammer  Action,  1707 


Christofori's  Hammer  Action,  1720 


THE  PIANOFORTE 


45 


has  been  utilized  in  all  later  improvements  of  the  so-called  German 
action.  Schroter  was  disappointed  in  not  getting  aid  from  his 
King  to  build  his  instruments,  and  no  pianofortes  of  his  make  are 
known.  As  early  as  1724,  however,  pianofortes  containing  the 
Schroter  action  were  made  at  Dresden. 

It  is  also  of  record  that 
the  great  organ  builder, 
Gottfried  Silbermann,  of 
Freiberg,  Saxony,  made 
pianofortes  with  Schroter 
actions  as  early  as  1728.  He 
simplified  and  improved  the 
action  somewhat,  as  illus- 
tration shows.  However, 
the  action  was  unreliable,  the 
touch  heavy  and  hard  as 
compared  to  the  clavichord, 
and  the  great  Johann  Se- 
bastian Bach  condemned  the 
first  pianoforte  which  Silber- 
mann had  built  because  it 
was  too  hard  to  play,  al- 
though he  praised  the  tone 
produced  by  the  hammer. 

It  seems  that  Silbermann  came  into  possession  of  a  Christofori 
pianoforte,  because  the  pianofortes  built  by  him  for  Frederick  the 
Great,  about  1747,  have  hammer  action  exactly  like  Christofori 's 
invention.  In  Silbermann 's  workshop  originated  the  two  schools 
of  piano  construction  known  as  the  "  German  school  "  and  the 
"  English  school."  There  is  no  doubt  that  Silbermann  used  both 
the  Schroter  and  the  Christofori  action  for  his  pianofortes. 

The  invention  of  the  pianoforte  as  an  entire  and  complete  in- 
strument must  be  credited  to  Bartolomo  Christofori  (sometimes 


Christofori's  Piano  e  forte,  1711 


46 


PIANOS  AND  THEIR  MAKERS 


♦  Zumpe's  Hammer  Action,   1760-65 

called  Christofali)  of  Padua.  A  publication  dated  1711  contains 
a  drawing  of  Cliristofori's  hammer  action,  which  he  had  completed 
in  1707,  and  used  in  his  first  experimental  instrument  which  he 
called  "  piano  e  forte."  This  instrument  was  exhibited  in  1711. 
About  1720,  Christofori  finished  his  real  pianoforte.  He  con- 
structed a  much  stronger  case  than  had  been  used  for  harpsichords, 
to  withstand  the  increased  strain  of  the  heavier  strings.  The  action 
in  this  pianoforte  shows  important  improvement  over  his  model 


Backers'  Hammsr  Action,  1776 


THE  PIANOFORTE 


47 


stein's  Hammer  Action 


of  1707.  He  added  tlie  escapement  device,  a  back  check,  regulating 
the  fall  of  the  hammer,  and  connected  an  individual  damper  for 
each  note  direct  with  the  hammer  action,  thus  giving  the  performer 
a  mechanism  with  which  he  could,  through  his  touch,  produce  a 
delicate  pianissimo  and  also  a  strong  fortissimo,  impossible  on 
either  clavichord  or  harpsichord.  Christofori  died  in  1731.  As 
far  as  we  can  learn  he  left  no  pupils,  unless  we  so  consider  Silber- 
mann. 

Silbermann's  pupils,  Johannes  Zumpe  and  Americus  Backers 
(Becker),  went  to  London  and  introduced  there  a  modified  Chris- 
tofori action,  which  later  on,  further  developed  by  various  makers, 
became   known   as    the    "  English  "   action.     Silbermann's    most 


Zumpe  Square  Piano,  1760-65 


48 


PIANOS  AND  THEIR  MAKERS 


C.  E.  Fricderici 


talented  pupil,  Joliann 
Andreas  Stein  of  Augs- 
burg, however,  took  the 
Sehroter  design  as  a  basis 
for  his  im])rovement, 
which    is    known    as    the 


"  Vienna  "      or 
man  "  action. 


Ger- 


The  greatest  activity 
ill  tlie  development  of  the 
})ianoforte  took  place  in 
the  periods  from  17()0  to 
1830,  and  from  1855  to 
1880.  Modulations  as  well 
as  radical  departures  in 
form  were  almost  number- 
less, mainly  inspired  by  a 
desire  to  })roduce  an  in- 
strument which  would 
take  up  less  room  than  the  long,  wing-shaped  grand  piano.  As 
early  as  1745,  C.  E.  Friederici  of  Gera,  Germany,  a  pupil  of  Silber- 
mann,  constructed  a  vertical -grand  piano  and  about  1758  he  built 
the  first  scjuare  piano  in  Germany.  About  1760-65,  Johannes  Zumpe 
built,  at  London,  the  first  English  s(|uare  piano. 


The  Square  Piano 

This  evolved  from  reconstructed  clavichords,  retaining  the  clavi- 
chord form  and  general  construction,  but  linving  a  stronger  frame, 
metal  strings  and  the  hannner  action.  Following  Zumpe,  we  next 
learn  of  John  Broadwood  of  London  bringing  out  his  square  piano 
in  1771,  and  the  records  show  that  Sebastian  Erard  made  such  an 
inslrumcnl  at  Paris  in  1776,  copying  the  English  model.     Joliann 


THE  SQUARE  PIANO  49 

Behrend  of  Philadelphia  exhibited  his  square  piano  in  1775.  Tims 
within  10  years  after  its  tirst  appearance,  the  square  piano  was 
made  in  Germany,  England,  America  and  France.  But  all  the 
square  pianos  of  those  days  were  weak  in  tone  and  not  to  be  com- 
pared to  the  grand  (wing  form)  pianoforte. 

It  seems  that  the  use  of  the  Christofori  action  in  England  (as 
modified  by  Backers),  having  the  hammer  rise  at  the  end  of  the 
key  (instead  of  toward  the  center  of  the  key  as  in  the  Stein  action), 
suggested  the  idea  to  Broadwood  of  placing  the  wrest  plank 
along  the  back  of  the  case,  instead  of  along  the  right  hand  side, 
as  it  had  always  been  in  the  clavichord.  Broadwood  completed 
his  new  piano  with  this  improvement  in  1781.  This  epoch-making 
invention  revolutionized  the  construction  of  the  square  piano,  and 
gave  the  opportunity  of  increasing  the  volume  of  tone  to  an  unex- 
pected degree.  As  a  matter  of  course,  this  invention  was  gradually 
adopted  by  all  the  leading  makers.  Even  the  German  school,  which 
had  developed  a  square  piano  construction  where  the  wrest  plank 
was  placed  in  the  front  part  of  the  case,  instead  of  sideways,  finally 
accepted  Broadwood 's  construction,  together  with  the  English 
action. 

Not  considering  minor  improvements,  such  as  enlarging  the 
scale,  etc.,  no  further  development  of  the  square  piano  is  of  record 
by  European  makers  and  we  must  look  to  America,  where  the 


Friederici's  Square  Piano,  1758 


50 


riAXoS  AXl)  TIIKIK   MAKERS 


Al])licus  Pialx-ot'k's   I"'iill    1 11)11    I'iMinc.    1S25 

square  piano  reigned  supreme  for  nearly  one  hundred  years.  After 
Belirend  we  find  Charles  Albreeht  making  excellent  square  pianos 
in  Phila(lel})hia  about  1789  and  Benjamin  Crehore  founding  the 
Boston  school  about  1792  at  Milton,  near  Boston,  where  John  Os- 
born  and  Al])heus  Babcock  were  his  most  talented  pupils.  Indeed, 
Alplieus  Babcock 's  invention  of  the  full  iron  frame  in  1825  was 
just  as  im]iortant  an  innovation  and  improvement  as  Broadwood's 


Charles  AlbrecliL's  Square  Piano,  1789 


THE  SQUARE  PIANO 


51 


Jonas  Cliickering's  Full  Iron  Frame,  1837 


change  of  the  location  of  the  wrest  plank.  The  never-ceasing 
demand  for  larger  tone  could  only  be  answered  by  heavier  string- 
ing, which,  however,  was  limited  by  the  power  of  resistance  of 
the  wooden  frame.  Babcock's  full  iron  frame  blasted  the  way  for 
further  development,  and  Jonas  Chickering  improved  Babcock's 
frame  so  materially  in  1837  that  a  patent  was  granted  to  him  in 
1840. 

Most  of  the  Boston  makers,  all  of  whom  inclined  toward  the 
English  school,  adopted  the  full  iron  frame,  but  New  York  makers, 
being  more  influenced  by  the  German  school,  objected  to  the  metal- 
lic tone  found  especially  in  the  upper  notes  of  pianos  with  iron 
frames,  caused  perhaps  fully  as  much  by  the  inferior  composition 
of  the  castings  then  available  as  by  too  close  connection  of  the 
strings  with  the  iron  plate  or  frame.  All  American  makers  of 
that  period  devoted  themselves  more  or  less  to  the  development  of 
the  square  piano,  so  that  it  soon  became  superior  to  the  upright 
piano  as  that  was  then  constructed. 

At  the  World's  Fair,  in  the  Crystal  Palace,  New  York,  in  1855, 
Steinway  &  Sons  created  a  sensation  by  exhibiting  a  square  piano 
having  the  overstrung  scale,  and  a  full  iron  frame,  designed  on 
novel  lines  to  conform  with  the  varied  and  much  increased  strain 


52 


PIANOS  AND  TIIKIR  MAKERS 


S(ciii\v;iv's  Full   Tioii  Fianic  niid  Ovcrstrunsr  Scale,  1855 


of  the  new  scale.  In  this  instrument  the  Stemways  had  not  only 
succeeded  in  producing  a  much  greater,  sonorous  tone,  than  known 
heretofore,  l)nt  liad  entirely  overcome  the  harsh,  metallic  quality 
of  tone,  so  objectionable  in  other  jiianos  having  the  full  iron  frame. 
Although  at  first  seriously  objected  to  by  many,  the  overstrung 
scale  and  full  iron  frame  were  soon  adopted  by  all  American 
makers. 

With  this  innovation  the  piano  industry  of  America  had  received 
a  new  imi)etus  and  it  developed  very  rapidly  from  then  on.  Im- 
provements were  continually  added,  among  which  the  linear  sound- 
board bridge,  inxented  b\-  Frederick  Mathushek  in  18G5,  may  be 
considered  as  the  most  ingenious. 

After  the  Paris  exposition  of  1807,  the  leading  American  manu- 
facturers followed  the  exam})le  which  the  European  makers  had 
set  30  years  before,  and  began  to  ])ush  the  u])right  piano  to  the 
front.  I'or  the  very  reason  that  the  American  s(|uare  piano  had 
b(^en  developed  to  a  real  musical  instrument  with  a  remarkal)le 
volume,  sonority  and  clearness  of  tone,  equal  in  some  instances 
to  the  ordinary  grand  piano  of  the  European  makers,  the  progress 
of  the  npiiglit  piano  in  America  was  very  slow,  and  it  was  not  until 
1880  that  the  making  of  the  square  piano  came  to  an  end. 


THE  UPRIGHT  PIANO 


53 


lllllii 


Hawkins'  Upright  Piano,  1800 


The  Upright  Piano 

Not  considering  the  vertical  grands  of  Fabrici,  Stein  and  others 
of  this  class,  history  records  that  apparently  the  first  upright  piano 
^as  built  about  1780  by  Johann  Schmidt  of  Salzburg,  Austria. 
Twenty  years  later  John  Isaac  Hawkins  of  Philadelphia  patented 
an  upright  piano  with  vertical  strings,  full  iron  frame  and  check 
action.  Notwithstanding  its  many  ingenious  devices,  this  piano 
was  not  accepted  on  account  of  its  unsatisfactory  tone.  As  A.  J. 
Hipkins  so  properly  says,  "  it  was  a  remarkable  bundle  of  inven- 
tions," but  not  a  musical  instrument.  Hawkins  was  an  engineer 
I)y  profession. 

In  1802  Thomas  Loud  of  London  patented  an  upright  piano 
described  as  having  the  strings  running  diagonally.  It  is  ques- 
tionable whether  Loud  ever  had  any  success  in  building  such  instru- 


54 


PTAXOS  AND  TUVAU   MAKKIJS 


iiicnts.  Xoiio  are  now  in  existence.  Loiul 
emi^Tatcd  to  Xcw  N'ork  where  lie  built  so- 
called  '•  piccolo  "  uprights  with  ''  over- 
strung' "  scale  as  early  as  1830. 

In  1S()7  \Villiain  Soutliwell  of  l^ondon 
came  out  with  his  "  Cabinet  "  (upright) 
piano,  having  a  comi)ass  of  6  octaves,  F  to 
F.  In  1811  Hobert  AVornuni  of  London 
made  his  iirst  ui)right  with  diagonally  run- 
ning strings. 

The  iiopularity  of  the  upright  in  Europe 
dates  from  18!2(),  when  AVornum  had  devel- 
0])ed  >M\  action  foi-  it  which  combined  pre- 
cision with  durability  and  i)ermitted  of 
rejK'tition.  responding  easily  to  a  light 
touch.  Ignace  Pleyel  of  Paris  adopted  this 
action  for  his  upright  pianos  and  it  be- 
came known  on  the  Continent  as  tlie 
"  Pleyel  "  action.        With    the    exception 


Soutliw 


I  plight  I'iuiio,  1807 


Wonniiirs  rpritilit  Action, 
1S2() 

of  changing  the  dampers 
from  their  position  above 
the  haiiimei's  to  a  more 
pro])er  ]ilace  below  the  ham- 
mers, til  is  W'ornum  action  is 
practically  used  in  all  pres- 
ent-day upi'ight  i)ianos. 

T'lcycl  and  otliei'  Paris 
firms  began  now  to  make  a 
specialty  of  upright  pianos 
with  sucli  success  that  square 
pianos  hardly  ol)tained  a 
foothold  in  France. 


THE  UPRIGHT  PIANO 


55 


Germany  began  the  manufacture  of  iipriglit  pianos  in  prefer- 
ence to  the  square  about  lHo5,  and  discarded  the  S(|uare  for  good 
about  1860.  During  this  period  the  Germans,  true  to  their  national 
character,  built  much  stronger,  heavier  uprights,  than  either  the 
French  or  English,  using  three  strings  for  each  note  and  applying 
iron  i)lates  for  hitch-pins,  also  iron  braces  between  these  plates 
and  the  wrest  plank.  The  tone  of  the  German  uprights  of  those 
days  had  greater  volume  than  the  instruments  of  their 
contemporaries. 

The  later  important  export  of  German  jnanos  had  its  start  at 
that  time  because  of  the  superior  quality  of  tone  and  great  dura- 
bility of  the  instruments.  When  the  American  makers  began  to 
pay  attention  again  to  the  upright  })iano  about  1860  they  adopted 


Conover  Bros,'  Ui)riglit  Iron  Frame,  1885 


56  IMAXOS  AXl)  TIIKIK  MAKERS 

the  now  pcrh'ctcd  system  of  overstrung  scale  and  lull  iron  iranie, 
and  tlici-elty  ])i-odu(*od  an  instrnment  wliicli  was  aceo])ta])le,  altliougli 
ill  lone  and  toueli  inferior  1o  llic  best  square  pianos. 

Germany  was  ([uick  in  a(loi)ting  the  overstrunn'  seale  and  iron 
frame  for  its  ui)i-iglit  i)ianos  and  forced  Kngland  to  do  likewise 
later  on  by  rapturing  with  their  superior  instruments  much  foreign 
ti'ade  forinei-ly  7nono]U)li'/ed  ))y  Kngland,  wliile  France,  Italy  and 
Spain  came  in  last.  \\\  the  lime  that  the  American  sijuare  piano 
Ix'cnme  extinct  (ISSO)  tiie  ''  American  System  "  was  universally 
ado]^ted  for  upi'ight  ])ianos.  However,  even  llie  upright  ])iano  of 
to-day  might  still  l)e  called  "  a  renuirkable  l)undle  of  inventions." 
Tn  its  entirety  it  is  an  o])en  defiance  of  all  the  laws  of  acoustics  and 
of  proi)er  mechanical  construction. 

Because  of  the  necessarily  heavy,  clumsy  frame  construction 
the  soundboard  is  almost  boxed  in  ix'tween  back  and  front,  so  that 
the  sound  cannot  develop  freely  and  fully.  AVhatever  tone  the  per- 
former gets  from  tlie  upright  ]>iano,  comes  straight  toward  him 
througli  the  closed-in  front,  whicli  "  short-stops  "  the  sound.  The 
touch  in  the  upright  is  tough,  non-elastic,  because  of  the  necessarily 
short  and  consequently  rigid,  stiff  keys,  but  mainly  on  account  of 
the  comj)Iicated  action,  whicli  has  of  necessity  a  strip  and  a  spring 
to  pull  and  push  the  hammer  back  to  its  natural  position  after  strik- 
ing. In  striking  the  string  from  above  the  hammer  virtually  throws 
the  tone  into  the  piano  with  no  cliance  to  escape,  while  in  the  open 
square  or  grand  ])ianoforte  it  travels  unhampered.  The  upright 
has  always  been  a  makeshift,  a  child  of  necessity,  and  for  many 
years  a  total  failure. 

In  spite  of  its  present,  so  much  improved  form  and  character, 
the  upright  will  never  be  the  piano  for  the  artist,  because  of  its 
incapacity  to  give  any  satisfaction  to  artistic  temperament,  either 
as  to  tone  or  facility  in  execution. 

That  the  upright  piano  is  to-day,  and  perhaps  always  will  be,  the 
most  po})ular  instrument,  notwithstanding  its  many  shortcomings, 


THE  GRAND  PIANO  57 

can  be  easily  explained.  The  si'O'^'tli  of  the  cities  has  made  land 
so  dear  that  the  study  for  architects  has  been  how  to  house  as 
many  people  as  possible  on  a  small  i)iece  of  ^Tound,  Paris  started 
the  first  so-called  apartment  houses  in  the  beginning  of  the  liitli 
century.  Hence  the  Paris  i)iano  makers  were  compelled  to  develop 
upright  pianos  small  enough  to  fit  into  the  small  rooms  of  the  apart- 
ment house,  where  grand  or  s(|uare  pianos  could  not  possibly  be 
placed.  Germany  followed  French  architecture  next;  England  fol- 
lowed soon  after;  and  since  about  1880  we  have  had  apartment 
houses  in  American  cities,  mainly  with  such  small  rooms  that 
neither  a  grand  nor  square  piano  can  be  placed  conveniently. 
Besides  the  more  convenient  form  of  the  upright  the  lower  cost,  as 
compared  to  the  cost  of  a  grand  piano,  is  a  strong  factor  in  its 
popularity.  However,  the  demand  for  the  "  i)erfect  "  pianoforte 
is  increasing  so  rapidly  and  strongly  that  the  foremost  makers  all 
over  the  world  have  for  many  years,  and  with  varied  success,  ex- 
perimented to  produce  a  small  grand  piano  which  in  size  and  price 
would  be  accepted  by  the  lover  of  music. 


The  Grand  Piano  or  Forte  Piano 

As  previously  stated  this  "  wing  "  form  seems  to  have  been 
used  first  by  Geronimo  (1521)  and  has  ever  since  been  preferred 
by  all  artistic  makers  in  their  efforts  to  produce  a  piano  for  the 
concert  hall,  for  the  artist.  The  square  piano  was  born  of  English 
commercialism,  the  upright  piano  started  its  career  of  success 
under  pressure  of  the  apartment  house,  but  the  grand  piano  has 
ever  been  the  love  of  the  artistic  piano  maker  and  the  musical 
piano  player.  The  large  size,  the  natural,  horizontal  position  of 
the  strings,  the  opportunity  of  using  a  forceful  action,  answering 
at  the  same  time  to  the  most  refined  pianissimo  touch — an  action 
permitting  a  development  upon  scientifically  and  mechanically  cor- 


58  riAXOS  AXI)  TTTKIIJ   MAKERS 

rod  linos — hn^  ovov  liocn  onticiiiu"  in  tlic  iii\'('iiti\'('  licniiis  and  to 
tilt'  tliinkini«'  eonstructdr  df  pianol'ortes.  We  tlicrcroic  lind  all  the 
eai'K'  piaiiot'ortes  of  ( 'lii'i>1()l'<)ri.  Sillici-iiiaiiiu  Stein  and  other 
makers  possessiiii;-  this  wiiii;'  i'orni. 

The  eraz<'  of  adding'  all  sorts  of  nnharmonir  effects  to  keyed 
instruments,  as  on  the  hai-psichord,  continued  also  for  a  while  with 
the  i^rand  jjiano,  and  we  hear  ol"  instruments  having  bell,  drum, 
cymbal,  triangle,  etc.,  attachments.  Those  vagaries,  however,  were 
not  accei)te(l  by  the  true  artist  and  soon  die(l  out.  The  extent  to 
which  this  craze  was  tinally  cari'iod  is  illustrated  by  the  descrip- 
tion of  a  grand  i)iano  built  in  ITDG  by  Still  Brotliers  of  Prague, 
Bohemia,  for  the  inventor,  a  musician  by  the  name  of  Kunz.  This 
monstrosity  had  230  strings,  360  ])ipes  and  105  different  tonal 
effects.  Tt  was  three  feet  nine  inches  high,  seven  feet  six  inches 
long  and  three  feet  two  inches  wide,  had  two  keyboards,  one  above 
the  otlier,  and  25  pedals.  The  pedals  had  the  following  functions: 
To  lift  the  dampers,  to  produce  lute  et¥ect,  flute,  flute  traverso  dul- 
ciana,  salicet,  viola  di  gamba,  sifHet,  open  tlute,  hollow  flute,  fagott, 
French  horn,  clarin(^t  and  many  others.  The  inventor  evidently 
attempted  to  obtain,  besides  the  oi'dinary  ])iano  tone,  also  all  kinds 
of  organ  and  orchestral  effects,  noisy  additions  which  we  find  to 
a  smaller  extent  with  the  nickel-in-the-slot  i)laying  machines  of 
to-day. 

The  perfecting  of  the  grand  piano,  or  forte  ])iano  (flligel,  as 
it  was  called  in  Germany),  depended  entirely  upon  the  develop- 
ment of  an  action  capable  of  bi-inging  out  the  greater  tone  of 
the  longer  strings  and  larger  soundboard  of  the  grand,  and  we 
find  the  masters  of  the  English  and  German  schools  for  many 
years  seritaisly  engaged  in  solving  this  i)roblem,  to  he  finally  out- 
classed 1)y  S<bastian  and  Pierre  Erard,  of  Paris.  Backers' 
grand    action,  -x'om^leted    a]^ut    1776,    inspired    Bobert     Stod- 


THE  GRAND  PIAXO 


59 


art  of  London  to  build  liis  first  concert  piano  wliicli  he  called 
''  Grand  Pianoforte,"  about  1777,  and  the  word  grand  first  applied 
by  Stodart  was  henceforth  used  by  all  English  and  American 
makers  for  this  instrument. 

John  Broadwood  built  his  first  grand  in  1781.  Allen  and  Thorn 
of  London  patented  a  grand  piano  having  a  complete  metal  framing 
system  in  1820,  followed  by  the  Erards  in  1823,  who  constructed 
a  grand  piano  with  six  resistance  iron  bars,  placed  over  the  sound- 
board, while  James  Broadwood  patented,  in  1827,  a  combination 
of  an  iron  string  plate  (hitch  plate)  with  resistance  iron  bars,  thus 
coming  very  near  the  full  iron  frame.  » 

Meantime,  Johann  Andreas  Stein,  and  his  talented  daughter, 
Nannette  Stein-Streicher,  who  was  not  only  an  excellent  musician, 
but  also  a  thoroughly  practical  and  scientific  piano  maker,  had  im- 
proved the  Schroter  action  so  materially  that  the  grand  pianos 
made  by  them  from  1780  on,  were  preferred  by  Mozart,  Beethoven 
and  other  masters,  perhaps  mainly  for  the  reason  that  this  action 
not  only  had  a  more  elastic  touch  than  the  Christofori  English 
action,  but  that  it  produced  a  more  s^mipathetic  tone,  reminding 
of  the  clavichord  tone,  which  all  the  great  players  of  that  period 
admired  so  much.  This  sympathetic  tone  could  only  be  produced 
with  the  Vienna  action,  because  the  hammer,  when  striking,  would 


Nannette  Stein-Streicher  Grand  Action,   1780 


60 


PIANOS  AND  THEIK  MAKERS 


Erard's  First  Iron  Bar  Grand  Piano,  1823 


Erard  Repelition  Urand  Action,  1821 


THE  GRAND  PIANO 


61 


to  some  extent  graze  or  draw  along  the  string,  while  the  more  force- 
ful attack  of  the  English  ''  jack  "  action  is  a  straight  and  direct 
percussion.  These  two  elements,  the  pleasant  light  elastic  touch, 
and  the  charming  musical  quality  of  tone,  assured  the  Vienna  grand 
IDianos  {fiilgd)  supremacy  in  Germany,  Austria  and  Italy  for  many 
years. 

Since  the  "  Vienna  school  "  never  aimed  for  powerful  tone, 
during  that  period,  the  use  of  metal  for  resistance  was  not  devel- 
oped until  18o7,  when  Hoxa  of  Vienna  patented  a  full  iron  frame 
for  grand  pianos. 

In  1808,  Sebastian  Erard  took  out  a  patent  for  a  "repetition  " 
action  for  grand  pianos,  in  which  he  attempted  to  combine  the 
elastic  touch  of  the  Vienna  action  with  the  forcefulness  of  the 
English  action,  but  evidently  without  satisfactory  result,  because 
in  1821  Pierre  Erard,  nephew  of  Sebastian  Erard,  obtained  for 
the  latter 's  invention  of  a  "  repetition  or  double  escapement 
action  "  a  patent  in  England.  It  is  this  action  which  made  the 
fame  of  the  Erard  grand  pianos  worldwide. 

Among  further  important  inventions  aiding  the  progress  of  the 
grand  piano  must  be  mentioned  Erard 's  agraffe,  by  aid  of  which 
a  bearing  down  upon  the  strings  was  accomplished,  preventing  the 
very  objectionable  upward  motion  of  the  strings 
when    struck    by    the    hammer.      These    brass 
agraffes,  besides  assuring  proper  counter  pres- 
sure against  the   stroke  of  the  hammer,  also 
improved  the  tone,  especially  in  the  treble  part. 
The  idea  of  downward  pressure  of  the  strings 
near  the  wrest  plank  was  followed  up  by  other 
inventors   in   various   directions   and  manners 
and  finally  led  to  the  pressure  bar  and  capo 
tasto,  the  latter  patented  by  Pierre  Erard,  in 
1838,  and  now  used  in  varied  forms  in  nearly  all 
grand  and  upright  pianos. 


62 


PIANOS  AND  THEIR  MAKERS 


t 


Chickeriii":  Crand  Iron  Frame,  1S43 


Tnrnin.c:  to  Amorica,  we  find  that  Loud  Brothers  of  Philadelphia 
built  a  grand  piano  of  7/2 -octaves  about  1825,  while  John  Jardine 
of  New  Yoi'k  exlii])ited  a  7-octave  grand  ])iano  in  1835.  Jonas 
Chickering  patented  his  full  iron  frame  for  flat  scale  grand  pianos 
in  1843,  a  great  im})rovement  on  Broadwood's  combination  of  iron 
hitch  plate  and  resisting  bars,  establishing  the  fame  of  the  Chicker- 
ing concert  grand.  Sixteen  years  later,  Steinway  &  Sons  })atented 
tlieir  full  iron  frame  for  grand  ])ianos  with  overstrung  scale  and 
dis])ositioii  of  the  strings  in  the  form  of  a  fan. 

After  the  London  exhibition  of  1862,  the  full  iron  frame  came 
largely  into  use  in  Germany  and  Austria,  while  England  and 
France   retained   tlie   })lain   scale   and   bracing   system  for   many 


THE  GRAND  PIANO 


63 


years.  At  the  present 
time  all  prominent  mak- 
ers have  adopted  the 
overstrung  scale  and  fnll 
iron  or  steel  frames  for 
their  grand  pianos. 

Noteworthy  i)rogress 
has  aliso  been  made  in  the 
constrnction  of  the  case 
for  grand  pianos.  Fol- 
lowing the  harpsichord 
model,  the  original  grand 
case  was  '*  built  up  " 
(frame  and  braces)  by 
gluing  boards  of  one  to 
two  inches  in  thickness 
together.  To  work  out 
the  hollow  sides  and 
rounded    ends    from    the 

rough       form       thus       con- 


stein  way  Grand  Iron  Frame,  1859 


structed  with  ordinary  jack  plane,  was  a  very  laborious  task.  Eng- 
land, at  that  time  the  land  of  machinery  par  excellence,  soon 
employed  power  machines  for  case  making,  and  constructed  the 
curved  sides  and  back,  by  gluing  up  hardwood  veneers  in  forms 
identical  to  the  curvature  of  the  piano  case.  This  new  process 
was  not  only  more  economic,  but  it  also  strengthened  the  case 
materially  and  was  supposed  to  increase  the  acoustic  properties. 
It  was,  therefore,  soon  generally  adopted. 

The  concert  grand  piano  of  to-day  is  a  model  of  mechanical  con- 
struction with  proper  regard  to  the  laws  of  acoustics,  as  we  know 
them  to-day  in  their  relations  to  the  pianoforte.  Free  from  all 
empirical  and  experimental  vagaries,  the  concert  grand  piano 
of  to-day  is  a  most  noble  instrument,  embodying  the  final  evolution 


64 


i'lAXoS  AXI)  TIIKIK'  MAKERS 


Baldwin  (ii'aiid  Case  witli  .\c(iu>tic  Rim 


'of  the  best  thoug-lits  of  the  greatest  masters  in  the  art  of  piauo 
constnictio7i.  The  length  of  tlie  modern  concert  grand  is  usually 
nine  feet,  with  a  compass  of  7ji  octaves.  Ludwig  Bosendorfer  of 
Vienna  builds  a  concert  grand  of  10  feet  in  length,  and  a  com]iass 
of  eight  octaves.  Going  to  the  other  extreme,  some  makers  have 
of  late  vears  constructed  a  small  grand  as  short  as  five  feet.  Ernst 
Kaps  of  Dresden  was  the  first  to  build  a  very  short  grand  (1865), 
using  a  double  overstrung  scale.  Because  of  its  novelty  this  instru- 
ment was  for  many  years  a  commercial  success.  It  has,  however, 
been  established  as  a  fact  that  shortening  the  length  to  about  five 
feet  is  the  danger-line  for  the  construction  of  a  small  grand,  which 


THE  GRAND  PIAXO  65 

is  to  satisfy  tlie  artist  or  musical  amateur,  as  to  volume  and  quality 
of  tone,  and  especially  of  a  well-balanced,  even  scale. 

The  short  grand,  l)a})tize(l  hy  Albert  AVeber  the  "  baby  grand," 
will  be  the  instrument  of  the  I'uture.  The  clamor  foi-  an  increased 
fuh  round  tone,  elastic  and  easy  touch,  and  never-failing  repetition 
in  the  action  of  the  piano,  is  the  same  to-day  as  it  was  200  years 
ago,  and  must  be  satisfied.  The  upright  piano,  having  evidently 
reached  the  apex  of  its  possible  development,  is  unsatisfactory, 
and  hence  the  small  grand  at  moderate  price  will  find  many  friends 
among  music  lovers  who  neither  require  nor  desire  the  bulky  con- 
cert grand  for  their  personal  enjoyment  or  professional  studies. 


PART   ONE 


CHAPTER  III 

The  Full  Iron  Frame,  Hawkins,  Allen  and  Thorn,  Babcock,  Cliick- 
ering,  Erard,  Broadwood,  Hoxa,  Steinway. 

The  Keyboard,  Guido  of  Arezzo,  Zarlina,  Kirkman,  Krause, 
Chromatic  Keyboard,  Neuhaus,  Cludsam,  Paul  von  Janko, 
Perzina. 

The  Action,  Schroter,  Christofori,  Silbermann,  Stein,  Streicher, 
Zumpe,  Backers,  Erard,  Friederici,  Wornum,  Pleyel,  Pape. 

The  Hammer,  Christofori,  Silbermann,  Pape,  Wilke,  Kreter, 
Mathushek,  Collins,  Dolge,  Ammon,  Steinway. 

The  Soundboard,  Chladni,  Tyndall,  Helmholtz,  Hansing,  Dr.  Paul, 
Pape,  Mathushek. 


PART    ONE 

CHAPTER  III 

THE  lEON  FRAME,  THE  KEYBOARD,  ACTION,  HAMMER, 

SOUNDBOARD 

The  Iron  Frame 

IN  the  year  1808  Waclitl  &  Bleyer,  a  Vienna  firm  of  piano 
makers,  stated  in  a  publication  tliat  the  total  tension  of  the 
strings  in  their  grand  pianos  equalled  9,000  pounds.  The 
strings  in  a  modern  grand  have  a  total  tension  of  35,000  to  40,000 
pounds. 

The  necessity  of  a  combination  of  metal  witli  wood  in  piano 
construction  became  apparent  as  soon  as  the  perfected  action  per- 
mitted of  the  use  of  heavier  strings.  The  framework  had  to 
undergo  a  change  if  further  progress  in  tone  volume  was  to  be 
made.  Numberless  experiments  were  made  with  metal  tubes  and 
bars  for  braces,  underneath  the  soundboard  as  well  as  above,  witli- 
out  lasting  result.  Even  the  Hawkins  full  iron  frame  of  1800 
was  a  failure,  and  history  records  many  futile  attempts  to  solve 
the  problem. 

The  first  acceptable  system  of  bracing  by  iron  tubes  was  in- 
vented by  Allen  and  Thom  of  London  in  1820.  They  sold  their 
patent  rights  to  Robert  Stodart,  who  immediately  constructed 
a  grand  pianoforte  with  this  system,  which  withstood  a  tension 
of  13,000  pounds  successfully.  Alpheus  Babcock  of  Boston 
followed  in  1825  with  the  first  full  iron  frame  for  square  pianos. 

69 


70 


PIANOS  AND  THEIR  MAKERS 


r.=il-. 


AVitli  this  invf'Titioii  tlio  ora 
of  tlie  full  iron  frame  was  iu- 
aiii>urated.  That  great  mechan- 
ical geuius,  .lonas  flickering, 
])atente(l  in  1S4;5  a  full  iron 
frame  for  flat  scale  grand  pianos. 
He  demons! latcd  tlie  practica- 
))ility  of  this  new  system,  and 
the  so-called  Boston  school  at 
once  followed  his  example,  using 
full  iron  frames  for  grand, 
square  and  ui)right  })ianos. 

Jn  Euro]ie,  Erard  experi- 
mented with  iron  bracing  bars 
about  1824,  ])utting  as  many  as 
nine  long  bars  over  the  sound- 
board of  his  grand  ])ianos, 
Broadwood,  more  metliodical  and 
scientific,  studied  to  obtain  the 
necessary  resistance  with  as  few 
bars  as  possible,  and  finally  com- 
bined an  iron  hitch-i)in  plate  with  his  cross  bars,  which  system 
was  patented  in  1827.  Jolm  Broadwood  &  Sons  are  now  making- 
grand  and  upright  jnanos  with  "  barless  "  steel  frame,  a  notable 
ar'eom])lishnu'nt,  aiding  materially  in  produeing  nn  even  scale, 
and  also  pci  iiiitting  the  soundboard  and  strings  to  vibrate 
unhami)ered  and  unaffected  by  iron  cross  bars.  Another  im- 
portant effect  is  that  the  weight  of  the  ])iano  is  reduced  in  ])ro- 
portion.  lloxa  of  X'ienna  is  on  record  with  a  i)atent  for  a  full 
iron  frame  for  grand  ])ianos  in  1837.  No  doubt  the  European 
makers  of  that  i)eriod  objected  to  the  full  iron  frame  because  of 
the  too  metallic  tone,  for  which  reason  the  New  York  makers  also 
were  slow  in  following  Chickering  and  the  Boston  school.     The 


PEHHB 


Allen  and  'riidin's  Grand  JJraoing 
ttvstem,  1S20 


THE  IRON  FRAME  71 

majority  of  the  New  Yorkers  leaned  toward  the  German  school, 
seeking  quality  rather  than  volmne  of  tone.  When,  however,  Stein- 
way  &  Sons  demonstrated  in  1855  that  the  overstrung  system  in 
combination  with  a  solid  iron  frame,  could  yield  the  desired  volume 
of  tone  of  the  desired  musical  quality,  the  battle  for  the  iron  frame 
was  won. 

At  the  London  exhibition  of  1862  the  American  pianos  with 
full  iron  frames  were  the  sensation  of  the  entire  piano  exhibit. 
After  the  Paris  Exposition  of  1867,  where  the  much-improved 
American  overstrung  iron  frame  pianos  carried  off  the  honors,  the 
German  makers  capitulated  and  accepted  the  American  system. 
England  and  France  are  following  slowly,  but  the  universal  adop- 
tion of  this  greatest  progress  in  piano  construction  is  inevitable. 
Constant  study  and  elTorts  to  improve  the  composition  of  the 
metals  for  casting,  together  with  the  progress  made  in  the  methods 
and  mechanical  appliances  for  casting  iron,  have  not  only  tended 
to  overcome  the  objectionable  influence  of  the  iron  frame  upon 
the  tone  quality,  but  the  modern  iron  frame  or  plate  is  also  in 
form  and  finish  pleasing  even  to  the  critical  eyes  of  the  artist. 

The  casting  of  iron  plates  for  pianos  is  one  of  the  most  impor- 
tant auxiliary  industries  of  the  piano  trade  of  to-day,  keeping 
pace  with  the  continual  improvement  of  the  piano.  The  average 
weight  of  plates  in  American  pianos  is  as  follows : 

Concert  Grand ....   400  pounds,     Parlor  Grand 300  poimds, 

Baby  Grand 250  pounds,     Large  Upright. . . .   200  pounds, 

Small  Upright 120  pounds. 

The  tension  these  plates  have  to  withstand  averages  as  follows : 
Concert  Grand.   60,000  pounds.     Parlor  Grand.  .   55,000  pounds, 

Baby  Grand 50,000  pounds,     Large  Upright .   38,000  pounds, 

Small  Upright ....   38,000  pounds. 


1-2 


JMAXOS  AND  TIIKIU'   MAKKHS 


Steinway  &  Sons'  Grand  Iron  Frame.  1875 


l-'ruiil  \  icw 


THE  IRON  FRAME 


73 


Steinway  &  Sons'  Grand  Iron  Frame,  1875 


Back  View 
Showing  "  Cupola  "  Construction 


74 


PIANOS  AND  THEIR  MAKERS 


Willu'liii  (irotrian's  Grand  lion   Frame,  1910 


Ualiluiu  L  plight  Irun  rraiiii',   191U 


THE  IRON  FRAME 


75 


John  Broadwood  &  Sons'  Earless  Grand  Steel  Frame,  1910 


John  Broadwood  &  Sons'  Barless  Upright  Steel  Frame,  1910 


'G 


TMAXOS   AXD  'nil-:il>    M.\Kl-:iJS 


Mason  &  Hamlin  Grand  Iruu  Franii',  1910 


PIANO  KEYBOARDS  77 


The  Keyboard 

The  origin  of  the  keyboard  for  musical  instruments  cannot 
be  traced  with  any  accuracy.  Old  records  mention  a  hydraulic 
organ  invented  by  Ctesibius  of  Alexandria,  in  the  2d  century 
B.C.,  but  no  reference  is  made  to  a  keyboard  in  that  organ.  Vitru- 
vius,  in  his  work  on  architecture  (1st  century  a.d.),  describes  an 
organ  with  balanced  keys.  Next  we  learn  that  Emperor  Constan- 
tine  sent  a  musical  instrument  having  keys  to  King  Pepin  of 
France  in  757  a.d.  Whether  or  not  that  great  musical  genius, 
Guido  of  Arezzo,  invented  the  keyboard  for  a  polychord  instru- 
ment or  was  the  first  one  to  apply  it,  cannot  be  proven,  but  the 
fact  remains  that  the  keyboard  was  applied  to  stringed  instru- 
ments in  his  days  (first  part  of  the  lltli  century). 

Guido 's  diatonic  scale,  eight  full  tones  with  seven  intervals 
of  which  two  were  semitones,  was  used  in  the  first  clavichords, 
which  had  20  keys.  There  are  no  reliable  records  in  existence, 
as  to  who  applied  the  chromatic  scale  first.  Giuseppe  Zarlino 
added  the  semitones  to  his  instruments  about  1548,  but  instru- 
ments of  earlier  date  have  the  chromatic  scale,  as  for  instance 
the  clavicymbala,  some  of  which  had  77  keys  to  a  compass  of 
four  octaves.  The  keys  in  some  of  the  early  organs  were  three 
to  four  inches  wide,  and  the  early  clavichords  also  had  very  wide 
keys,  but  with  the  increase  of  the  number  of  strings,  narrowing 
of  the  keys  became  a  necessity.* 

After  the  15th  century  nearly  all  the  makers  of  key-stringed 
instruments  used  the  chromatic  scale  practically  as  we  find  it  in 
the  modern  pianos.  The  semitones  in  most  of  those  old  instru- 
ments are  elevated  and  of  a  different  color  than  the  full  tones. 


*Kirkiiian  of  London  went  to  tlie  extreme  of  building  a  grand  piano  in  1851, 
having  a  keyboard  of  6%  octaves,  2  feet  2 14  inches  wide,  allowing  only  Vs  inch  for  each 
kev. 


78 


IMAXOS  AND  TITEIK   .MAKERS 


Cliulsaiirs  Concavf  Kcvlxiard.  11)10 


Since  the  development  of  the  ])ianoforte  many  experiments 
have  been  made  witli  so-called  "  chromatic  "  keyboards,  in  which 
the  semitones  were  on  a  level  with  the  full  tones.  A  Dr.  Krause 
of  Eisenberg-  constructed  a  keyboard  in  1811,  in  which  the  semi- 
tones were  not  raised  and  all  keys  were  of  the  same  color.  Krause 
maintained  that  with  such  a  keyboard  the  performer  could  play 
in  all  the  different  keys  with  more  ease  than  if  the  semitones 
were  elevated.  Although  this  innovation  was  generally  rejected, 
various  attemi)ts  have  been  made  of  late  to  revive  this  idea,  but 
without  anv  result. 

About  1780,  Neuhaus,  a  piano  maker  of  Vienna,  constructed 
a  concave-formed  keyboard  for  his  pianos.  He  aimed  to  follow 
the  inclination  of  the  human  arm  to  move  in  a  semicircle.  Curious 
to  relate,  this  same  idea  has  lately  been  resuscitated  by  Cludsam 
of  Germany,  who  obtained  i)atents  on  such  a  keyboard  and  is  seri- 
ously attempting  its  introduction. 

The  most  ingenious  and  really  meritorious  invention,  revolu- 
tionary in  its  character,  is  the  keyboard  patented  in  1882  by  Paul 
von  Janko  of  Austi-ia.  Moved  by  tlic  desire  to  enable  the  amateur 
to  execute  the  brilliant,  but  technically  exceedingly  difficult,  essays 
of  our  modern  composers,  Janko  constructed  a  keyboard  of  six 
tiers,  one  above  the  other,  similar  to  the  organ  keyboard.  On 
this  keyboard  tenths,  and  twelfths,  can  easily  be  [iroduced  by  reach- 


PIANO  KEYBOARDS 


79 


■iyVr-V|Vfr.,s^'TfT'iMi'fftVh'T'TVt'!ii'f?'r^'ri'f'f' 


!  mammmBBmm»ai*fm9umnB»mmm§mw\m9mi^  u « 


Janko-Perzina  Keyboard,  1910 


ing  a  finger  to  the  keyboard  above  or  below  that  on  which  the 
hand  is  traveling.  Arpeggios  through  the  whole  compass  of  the 
keyboard  can  be  executed  with  a  sweejD  of  the  wrist,  which  on 
the  ordinary  keyboard  would  hardly  cover  two  octaves.  Indeed, 
with  the  Janko  keyboard,  the  hand  and  arm  of  the  player  can 
always  remain  in  their  natural  position,  because  to  sound  an 
octave  requires  only  the  stretch  of  the  hand  equal  to  the  sounding 
of  the  sixth  on  the  ordinary  keyboard. 

It  is  difficult  to  realize  the  manifold  possibilities  which  this 
keyboard  opens  up  for  the  composer  and  performer.  Entirely 
new  music  can  be  written  by  composers,  containing  chords,  runs 
and  arpeggios,  utterly  impossible  to  execute  on  the  ordinary  key- 
board, and  thus  does  the  Janko  keyboard  make  the  piano,  what  it 
has  often  been  called,  a  veritable  ''  house  orchestra."  It  is  not 
nearly  so  difficult  for  the  student  to  master  the  technic  of  the 
Janko,  as  to  become  efficient  on  the  present  keyboard.  This  key- 
board can  be  readily  adjusted  to  any  piano  having  the  ordinary 
action. 

Like  all  epoch-marking  innovations,  this  great  invention  is 
treated  with  inditference  and  open  opposition.  That  poetic  per- 
former on  the  piano,  Chopin,  refused  to  play  on  the  Erard  grand 
pianos   containing  the  celebrated  repetition  action,  because   his 


80 


PIANOS  AND  TIIEIli  MAKERS 


fingers  were  u-cd  to  the  stiff  percussion  of  the  English  action. 
To-day,  liowever,  English  makers  of  concert  grand  pianos  use  the 
Erard  acrKni  wliidi  ('liopiii  disdained! 

The  piano  \ii1uoxis  and  teachers  ol'  the  present  day  are  oppos- 
ing the  .laiiko  keyboard  because  its  universal  ado])tion  would 
mean  for  them  to  forget  the  old  and  learn  the  new.  The  music 
})nl)lisliers  ol)ject  to  it,  because  their  stoek  on  hand  wonld  depre- 
ciate in  \alne.  as  the  Janko  keyboai'd  natni-ally  re(|uires  dilferent 
lingering  than  that  now  jirintefl  witli  the  i)ul)  ished  (•om])ositions. 
For  many  years  the  professional  piano  i)layers  could  rightfully 
object  to  the  somewhat  unelastic  touch  of  the  Jaidvo  keyl)oard. 
This  objection  has  been  comi)letely  overcome  by  an  ingenious  im- 
provement accomplished  by  Paul  Perzina  of  Schwerin,  who 
changed  the  double  leverage  of  the  key  successfully  to  a   single 

movement  as  shown  in  il- 
lustration, assuring  the 
desired  elastic  touch.  In 
order  to  facilitate  the  at- 
tachment of  the  Janko 
keyboard,  Perzina  has  in- 
vented a  reversible  double 
key-bottom,  so  that  the 
Janko  as  well  as  the  old 
style  keyboard  can  be 
used  on  the  same  piano. 

Although  the  Janko 
keyboard,  in  its  ])resent 
form,  is  thoi-oughly  prac- 
tical, and  destined  to  in- 
augurate a  new  era  for 
the  ])iano  industry,  its 
universal  success  and 
adoption   seem   to   be   im- 


PIANO  KEYBOARDS 


81 


Perzina's  Key  for  Janko  Keyboard,  1910 

paired  by  the  appearance  of  the  player  piano,  which  enables  the 
musical  amateur  to  enjoy  his  own  performance  of  the  most  diffi- 
cnlt  compositions  with  hardly  any  exertion  on  his  part.  It  remains 
for  a  coming  Titan  of  the  pianoforte  to  lift  the  Janko  keyboard 
ont  of  its  obscurity  and  give  it  its  deserved  place  in  the  concert 
hall,  there  to  show  to  the  executing  amateur  its  wonderful 
possibilities. 


Perzina's  Reversible  Key-bottom  for  Two  Keyboards 


82 


PIANOS  AXD  THEIR  :\rAKERS 


Perzina's  Actiun  fur  rnicticu  Clavier  fur  Jaiiko  Koyboard 


Perzina's  Practice  Clavier  with  Janko  Keyboard 


PIANO  ACTIONS  83 

Paul  von  Janko,  noble  of  Enyed,  was  born  June  2,  1856,  at 
Totis,  Huugarv.  After  finishing  bis  preparatory  studies,  be  en- 
tered both  the  Polyt^chnicum  and  the  Conservatory  of  Music,  in 
Vienna.  It  is  quite  characteristic  of  the  dual  nature  of  the 
virtuoso-inventor  that  he  left  both  institutions  with  the  highest 
prizes  they  offer. 

He  continued  his  musico-mathematical  studies  at  the  Berlin 
University  under  Helmholtz,  The  immediate  result  of  these 
researches  was  the  keyboard  which  bears  his  name.  From  1882 
to  188-4  he  experimented  on  an  ordinary  parlor  organ;  in  1885 
the  first  Janko  grand  piano  was  built;  and  on  March  25,  1886, 
he  gave  his  first  concert  thereon  in  Vienna. 

Paul  Perzina  of  vSchwerin,  who  is  a  firm  believer  in  the  future 
of  the  Janko  keyboard,  has  constructed  a  very  ingenious  practice 
clavier  for  students.  As  shown  by  illustrations,  the  clavier  has 
the  full  keyboard  and  a  tone-producing  hammer  action.  The  ham- 
mer strikes  a  brass  reed,  producing  a  ton§  similar  to  the  harp  and 
zither,  sufficiently  loud  for  the  player,  but  not  offensive  to  suff'er- 
ing  neighbors.  The  action  is  so  constructed  as  to  require  the 
touch  of  the  regular  piano  action.  This  practice  clavier  will  no 
doubt  aid  greatly  in  introducing  the  Janko  l^eyboard. 

The  Development  of  the  Piano  Action 

No  part  of  the  piano  has  given  the  inventor  more  food  for 
thought  and  opportunity  for  display  of  genius  than  the  action. 
The  experiments  made  are  almost  numberless  and  it  may  be  said 
that  every  thinking  piano  maker  has  at  one  time  or  another  fallen 
victim  to  the  lure  of  ' '  inventing  a  new  action. ' '  Even  the  author, 
in  his  early  days,  sent  his  hard-earned  dollars  to  Washington 
to  pay  the  fees  for  a  patent  for  an  ''  improved  upright  action," 
Fortunately  no  piano  maker  ever  embodied  this  "  important  in- 
vention "  in  his  instruments. 


84 


riAXOS  AND  THEIIJ  MAKKKS 


The  action  bein.u'  the  motive  power  of  the  ])iano,  so  to  speak, 
gave  the  restless  ciiii li i-'ic  lull  ici^ii  for  tlie  most  fantastic  experi- 
ments. Tliat  ;i  large  nuiiiIxT  of  the  ahk'st  piano  makers  of  tlieir 
(Uiy  should,  foi-  inslunce,  struggle  witli  the  i)r<)bleni  of  a  down- 
ward striking  action  for  gi'and  pianos  seems  remarkable,  l)ut  that 
a  genius  like  Henri  Pajie  >houhl  expend  a  fortune  in  money  and 
many  years  of  unceasing  labor  on  the  same  ] problem,  after  such 
masters  as  Stein,  i.oud.  Sackmeistei',  llildebrand,  Streicher  and 
nniny  more  had  given  up  the  struggle  as  hopeless,  seems  inexjjli- 
cable.* 


Loud's  Dowinvnid  Striking  Action  for  Square  or  Grand  Pianos,  1S27 


Although  the  very  principle  of  the  downward  striking  of  the 
hammer  is  of  itself  contrarv  to  the  law  of  gravitation,  and  as  a 
mechanical  })roi)ositiun  ridiculous,  Pape  not  only  persisted  in  his 
own  effort^  but  transmitted  his  faith   in   this  action  even  to  his 


*  Wliilc  employed  hy  Fred  ^fatliushek  (1807-69)  the  writer  was  instructed  to 
try  and  put  12  scpiare  pianos,  liaving  a  downward  striking  action,  in  salable  con- 
dition. These  instrnnients  had  heen  built  by  Mathu.shek  and  for  years  rested  peacefully 
in  the  attic  of  the  faitory  huildiii;:.  After  wrestling  witli  tlicni  for  al>()iit  one  week 
all  hope  of  success  was  abandiUHil  mikI  the  suggestion  made  to  Mathusliek  that  the 
furnace  of  the  st<'am  boilers  in  tlic  factory  was  the  most  economic  place  for  those 
pianos.     The  suggestion  was  adopted. 


PIANO  ACTIONS 


85 


pupils,  such  as  Matlmshek,  Stocker  of  Berlin  and  others,  who 
continued  the  hopeless  efforts  for  the  solution  of  an  impossible 
proposition.  No  doubt  the  ambition  to  invent  something-  strik- 
ingly novel,  and  thus  earn  fame  as  one  of  the  great  inventors  of 
the  industry,  prompted  these  men  to  waste  their  talents  and  time, 
as  many  others  have  done.  In  looking  at  the  various  models  of 
these  downward  striking  actions,  we  have  only  to  regret  that  so 
much  ingenuity  was  so  hopelessly  thrown  away. 

Even  to  the  present  day  the  minds  of  constructive  piano  makers 
are  mainly  busy  with  action  improvements.  While  it  is  true  that 
since  the  simplification  of  the  Erard  action  by  Henry  Herz  no 
radical  changes  of  merit  can  be  recorded,  many  detail  changes  and 
improvements  have  been  made  in  the  mechanism,  which  are  in 
the  line  of  progress  and  permit  of  a  more  subtle  manipulation 
•of  the  keyboard  and  pedals  than  would  be  possible  without  them. 


Steinway  Tubular  Metallic  Action  Frame,  1866 


Rather  important  improvements  have  been  made  to  protect  the 
action  against  atmospheric  influences,  and  to  assure  greater  dura- 
bility in  general,  such  as  the  metal  flanges  in  upright  actions,  the 
metal  tubes  for  the  protection  of  the  wooden  rails,  and  many 
others. 

The  evolution  of  the  piano  action  has  passed  so  regTilarly  and 
•correctly  from  stage  to  stage  that  a  Darwin  would  enjoy  the  study 
ihereof.     Schroter's  hammer  action  of  1717  is  a  model  of  inno- 


86 


PIANOS  AXn  TTTETR  MAKERS 


poiit  simplicity,  l^vcii  lie  had  1  he  notion  of  sli-ikiiii;-  llic  striiii*'  from 
above  as  well  as  below,  'riu'  diawiiii;'  for  his  down  striking  action 
shows,  however,  no  |»<)ssil)ility  for  liriinu'  tlic  haiiniici'  away  from 
the  strini;-  after  strikini;-.  It  ai)])ears  that  Schrotei*  depended  en- 
tirclx'  njion  the  conntei-wei.ulit  of  what  niiniit  he  caMcd  the  liainnier 
l)iitt.     XaturalK,  such  a  clumsv  device  made  the  touch  hard  and 

-   »  • 

tough,  and  we  need  not  wonder  that  Bach  and  other  clavichord 
virtuosos  of  that  time  would  have  none  of  it. 


.Tdliaiin  Andreas  Stein's  Aetioii.  ITSO 


Christofori  sliowed  in  liis  iii-st  model  (1707)  real  mechanical 
genius.  His  jack  pciniitted  an  escapement,  although  faulty,  Fur- 
tlM'iniorc,  the  silken  cord,  interlocked  crosswise  to  catch  the  ham- 
mer shank  in  its  fall  after  sti'iking,  was  undoubtedly  designed  to 
facilitate  i-epetition.  In  his  model  of  1720  he  succeeded  in  devising 
a  |)ositi\-e  acting  escapement  and  substituted  for  the  unreliable 
silk  cords  a  i-igid  back  check  foi-  catching  the  hammer.  Indeed, 
Christofori  laid  down  all  the  laws  for  the  re(|uirements  of  a 
pianoforte  action  in  his  model,  which  all  the  later  inventors  had 
to  observe  in  their  improvements. 


PIANO  ACTIONS 


87 


Gottfried  Silbermann  improved  the  Schroter  action  by  doing 
away  with  the  special  escapement  lever.  He  extended  the  hammer 
butt  beyond  the  axis,  using  this  extension  for  escapement.  About 
1780  Johann  Andreas  Stein  of  Augsburg  added  to  this  the  "  hop- 
per," by  aid  of  which  the  annoying  "  blocking  "  of  the  hammer 
was  overcome,  at  the  same  time  improving  the  touch  so  much 
that  most  virtuosos  preferred  the  Schroter-Stein  action  to  the 
English. 


i»^^^^ 


Johann  Baptist  Streicher's  Action,  1824 


The  almost  final  development  of  this  action  we  find  in  the 
model  of  a  grand  action  patented  1824  by  Johann  Baptist 
Streicher  (a  grandson  of  Stein).  This  action  found  much  favor 
with  German  makers  and  in  modified  forms  is  still  used  by  some 
Vienna  makers.  In  spite  of  the  fact  that  masters  like  Mozart  and 
Beethoven  preferred  the  Schroter-Stein  action,  it  had  to  give 
way  finally  to  the  Christofori-Backers  action.  Zumpe's  attempt 
(1776)  to  simplify  the  Christofori  cannot  be  considere(J  a  success. 
It  seems  that  he  merely  tried  to  produce  an  action  of  less  cost 
than  the  complicated  Christofori.     Americus  Backers,  however, 


88 


riAXoS  AX  I)  TIlKli:   MAKKlx^S 


iiivenU'tl  in  tiie  same  year  an  action  un  the  Lliristoiuri  })riueiple 
wliicli  (•(•niVtiiicd  sii)i]tlici1  y  willi  ;ill  tlu^  .u'ood  ]>oiiits  of  tlio  Cliris- 
tot'oi'i  action.  Tlic  I5aci<('i-s  in\'('iition  lias  to  tiiis  (la>'  remained 
the  fundamental  model  for  the  Eiii>lish  action  in  its  various  modi- 
fications, as  iliusti'atec]  in  Bi'oadwood's  ,<>rand  action  of  1884. 

That    independent    tiiinkei"    ;ind    mechanic;!!    i;('nius,    Sebastian 
Erard,   departed    fiom    both    Schroter   and    ( 'hristofoii,   when   he 


Erard's  Grand  Action,  1821 


constructed  his  double  escapement  and  rejietition  i>'rand  action, 
patented  in  1821.  This  action  is  a  most  ingenious  combination  of 
the  light  elastic  touch,  characteristic  of  the  Vienna  action,  with 
liie  powerful  stroke  of  the  English  action.  It  is  so  reliable  and 
precise  in  its  movements  that  it  is  undisputedly  the  action  par 
excellence  for  grand  i)ianos.  With  more  or  less  modifications, 
the  Erard  grand  action  is  now  used  by  all  leading  makers  of  grand 
pianos,  except,  perhaps,  Bosendorfer  of  Vienna,  who  still  prefers 
the  Englisli  action  for  his  excellent  grand  pianos. 


PIANO  ACTIONS 


89 


To  what  extent  thinking  piano  makers,  and  the  modern  special- 
ists, the  action  makers,  have  endeavored  to  improve  the  original 
Erard  repetition  action,  is  shown  by  the  following  illustrations, 
comprising  the  leading  models  at  present  in  use. 


Erard-Herz  Grand  Action,  Paris,  1850 


Steinway  Grand  Action,  New  York,  1884 


90 


PIANOS  AND  THEIR  MAKERS 


Wessell,  Nickel  &  Gross'  Grand  Action,  Isew  York,  1890 


LaiigiT  (Iraiul  Action,  Berlin,  1909 


Keller's  Grand  Action,  Stuttgart,  1909 


PIANO  ACTIONS 


91 


ISGH 


Ijy.'      .    ■..      ■.-'^■, 


Herrburger-Schwander  Grand  Action,  Paris 


Siegfried  Hansing's  Grand  Action,  New  York,  1898 


Following  the  development  of  the  action  for  the  upright 
piano,  we  observe  a  similar  evolution  from  the  crudest  device 
to  the  most  complicated  mechanism.  The  upright  action  of 
Friederici  (1745)  reminds  one,  as  Hipkins  so  truly  says,  of  an 
old  German  clock  movement,  and  it  is  quite  possible  that  Friederici 
copied  it  from  a  clock.  After  Friederici  we  find  nothing  of  impor- 
tance until  the  English  "  sticker  "  action  appeared,  a  device  which 


92 


PIANOS  AXD  TIIKllJ  MAKKIJS 


lijid  iiotliiiiii-  else  in  its  favor  tlmii  its  ('li('n))TU'ss,  Tliis  inisatisfae- 
torv  actidii  was  no  doiiltt.  to  a  lar^e  extent,  responsible  i'or  the 
nn})0})ularity  of  the  early  iii>i-i,i;lit  i)iano. 

Robert  W'oi mim  of  London  a('eoin))lislie(l  for  the  ii])ri,i>lit  i)iano 
what  Sebastian  l'>iai'd  live  years  earlier  had  done  for  the  grand 
piano.  It  was  in  182(5  when  Wornum  patented  his  "  piccolo  " 
npright  action,  whicli  has  remained  the  prototype  of  all  iii)right 
actions  used  at  the  ])resent  time.  Tlie  AVornnm  action  made  the 
upright  i)iano  a  practical  instrument.     Active  minds  among  the 


Friederiei's  Upright  Actiuii,  1745 


/ 


English  StickiT   Ipriglit  Action,  1820 


PIANO  ACTIONS 


93 


Wornum's  Upright  Action,  1826 


piano  makers  set  to  work  at  once  to  improve  this  epoch-making 
invention.  Ignace  Pleyel  and  Henri  Pape  of  Paris  met  with  such 
notable  results  in  their  efforts  in  this  direction  that  the  Wornum 
action  is  to  this  day  misnamed  by  most  piano  makers  the 
"  French  "  action.  Perhaps  it  was  called  thus  also  for  the  reason 
that  Paris  was  first  in  having  establishments  that  made  a  specialty 
of  producing  actions  for  the  piano  trade.  Their  product  was  of 
such  excellent  quality  that  it  was  soon  exported  to  Germany,  Italy, 
Spain,  Scandinavia,  etc.,  and  the  piano  manufacturers  advertised 
that  they  had  "  French,"  that  is,  Paris  made,  actions  in  their 
l^ianos. 

The  extent  to  which  the  Wornum  action  has  been  developed  and 
improved  at  the  present  day  can  be  observed  by  the  following 
illustrations : 


94 


PIANOS  AND  THEIR  MAKERS 


Brinsraead.  Upright  Action 


PIANO  ACTIONS 


95 


Langer  Upright  Action 


Herrburger-Schwander  Upright  Actioa 


96 


PIANOS  AND  TllElK  MAKEKS 


St'iivL'nis  L'priylil  Action 
Showing  Metal  Flange 


Wessell,  Nickel  &  Gross'  Upright  Action 


PIANO  HAMMERS 


97 


Development  of  the  Piano  Hammer 

The  hammer  used  by  Christofori,  Silbermami  and  other  early 
makers  consisted  of  a  small  wooden  b^oek  covered  with  soft 
leather.  With  the  increase  of  tone  volume  the  hammer  had  to 
undergo  changes  and  we  soon  find  hammers  having  instead  of 
the  block  form  a  longer  wedge  form,  tapering  toward  the  top.  To 
assure  firmness,  this  wedge-like  molding  was  first  covered  with 
a  piece  of  firm  sole  leather,  over  which  a  soft  piece  of  sheepskin 
was  glued.    Next  we  find  larger  hammers  in  which  the  foundation 


Christofori  Hammer 


Hammers  Covered  with  Leather 


over  the  wooden  molding  was  a  piece  of  very  hard  sole  leather 
a  quarter  of  an  inch  thick,  followed  by  a  medium  firm  elkskin 
covering  and  topped  off  with  a  covering  of  very  soft,  specially 
prepared  deer  or  buckskin. 

The  art  in  hammer  making  has  ever  been  to  obtain  a  solid,  firm 
foundation,  graduating  in  softness  and  elasticity  toward  the  top 
surface,  which  latter  has  to  be  silky  and  elastic  in  order  to  produce 
a  mild,  soft  tone  for  pianissimo  playing,  but  with  sufficient  resist- 
ance back  of  it  to  permit  the  hard  blow  of  fortissimo  playing. 
When  the  iron  frame  i)ermitted  the  use  of  heavier  strings,  the 
leather  hammer  proved  insufficient,  and  we  find  Alpheus  Babcock, 


98 


PIANOS  AXl)  TllKlK  MAKKKS 


of  Boston,  takiiiii'  out  ;i  pntciit  in  1833  on  ;i  li.niiiner  covered  with 
felt.  Two  years  lalcr.  1*.  V\  Fischer  of  London  (a  friend  of 
ileni'i  i'a})cj  i)blaiiu'd  an  iMi^lish  patent  for  piano  liauiuicr  fell. 
It  is  siii-niiscd  tliat  tliis  patent  is  really  for  an  invention  of  Henri 
Pape  of  Paris,  wiio  at  tiiat  time  experimented  witli  hair  I'ell  for 
haininer  eoNci-inu'.  cuttiiiu-  up  xil't  beavei"  hats  lor  that  purpose. 

(iettinu  very  ^ood  icsults  therewith,  bnt  not  being  able  to  slice 
thi>  hairy  hat  felt  thin  enough  for  the  treble  hannners,  I'ape  in- 
duced a  hatter  to  make  a  hair  felt  in  sheets  tai)ering  from  a  (piar- 
ter  of  an  inch  to  one-sixteenth  of  an  inch  thick.  Pape  in  1839  ex- 
hibited pianos  having  hammers  covered  with  such  felt,  and  it  seems 
that  the  credit  for  the  invention  of  ta^jered  hannner  felt  belongs  to 
I^ipe. 


Hammers  Cove  rod  witli  Leatlier  :uiil  lu'lt 


"We  now  find  the  following  combination  in  the  hand-made  ham- 
mers of  those  davs:  Directlv  over  the  wooden  head,  a  covering 
of  hard  sole  leather,  then  elkskin,  and  over  that  a  covering  of 
hair  or  wool  felt  up  to  about  the  last  two  treble  octaves,  which 
were  covered  with  bnckskin.  The  elkskin  was  soon  re]:>laced  by 
a  linn  felt  called  underrelt,  which  was  not  only  more  economical, 
but   also   lii-mer  than   elkskin,   jiossessing  the   required  elasticity. 


PIANO  HA]^rMEES 


99 


(Iradually  the  sole  leather  was  replaced  by  another  nnderfelt,  so 
that  we  now  have  the  entire  hammer  made  of  three  thicknesses 
of  felt,  each  layer  of  its  required  firmness.  The  use  of  deerskin 
as  a  covering  for  the  last  two  or  three  octaves  was  continued,  espe- 
cially in  square  pianos  which  had  only  two  strings,  more  for  pro- 
tection, however,  than  for  tone  results.  Felt  making  had  not 
advanced  sufficiently  to  produce  a  material  so  closely  interknitted 
as  to  withstand  the  cutting  of  the  wires  on  the  thinly  covered 
treble  hammers. 

The  ever-increasing  thickness  of  the  strings,  to  produce  greater 
volume  of  tone,  necessitated  a  more  forceful  hammer  than  could 
be  produced  by  the  hand-made  method,  and  many  attempts  were 
made  to  construct  machines  for  gluing  the  felt  to  the  wooden 
head.  About  1835  Wilke,  piano  maker  at  Breslau,  invented  a 
machine  in  which  a  full  set  of  hammers  could  be  covered  with 
felt  at  one  time.  It  seems  that  hammers  made  on  this  machine 
were  not  considered  as  good  as  the  hand-made,  because  nearly 
all  European  makers  continued  the  hand  method  until  about  1867, 
when  the  American  pianos,  shown  at  the  Paris  exposition,  made 
a  lasting  impression.  In  America  two  in- 
ventors patented  hammer-covering  ma- 
chines in  1850.  Eudolf  Kreter  of  New 
York  patented  a  most  ingenious  but  very 
complicated  machine.  Its  main  fault  was 
that,  because  of  manifold  attached  springs 
and  levers,  it  was  impossible  to  use  felt 
over  half  an  inch  thick,  and  the  crv  was 
for  a  larger,  heavier  hammer.  This  ma- 
chine, which  had  many  elements  of  the 
present  hammer-covering  machines,  came 
into  possession  of  Alfred  Dolge  in  1871, 
who  later  on  sold  it  as  a  curiosity  to  Brooks         ,,   ,.     „        ,  ^  ,^ 

*^  Machine-Covered  Felt 

of   London.  Hammer,  1871 


^$> 


100 


PIANOS  AND  TUVAM  MAKKKS 


Frederick  ^Fat liusliek's  patent  of  I'^-IO  was  for  a  liammer-cover- 
mg  mat'hiiir  of  imicli  >iiiii»l('i-  construction  than  Kreter's.  It  was 
IKitterned  after  the  W'ilkc  inachliu'.  the  frame  built  of  wood,  with 
lU  inui  >crews,  live  each  for  (k)wn  and  side  pressure.  Ahoul  18G3 
Benjamin  ('oHiiis.  a  piano  and  hammer  inak"i"  of  Boston,  came 
out  with  an  imi)rovenient  on  the  Kreter  machine.  In  Ivreter's 
as  well  as  Matlmsliek's  macliine,  the  covered  liainnier  had  to  stay 
in  the  nuu'hine  until  the  i;lue  had  thorougldy  hardeneiL  Collins, 
takini*'  Ki'eter's  iron  fi-ame  macliine  as  a  i)attei'n,  clian.i^ed  it  so 
that  the  caul  or  form  into  which  the  hannner  is  i)ressed  could 
be  locked,  after  the  felt  was  glued  on,  and  the  caul  with  the  ham- 
mers removed  from  the  machine  in  order  to  repeat  the  operation 
with  another  set.  But  even  Collins'  nuichine,  like  others,  was  too 
light  in  construction  to  nuike  the  heavy  hammers  demanded  for 


Dolge  Iliuniiu'r-Cuvrrin^'  ^lacliiiie,   1887 


PIANO  HAMMERS 


101 


Dolge  Hammer-Covering  ^NLichine,  1887 


the  large  concert  grand  pianos.  Most  makers  increased  the 
strength  of  the  Mathushek  machine,  which  was  generally  adopted 
because  of  its  simplicity,  but  it  was  very  difficult  to  produce  the 
desired  pointed  hammer  with  the  thicker  felt  required. 

In  1887  Alfred  Dolge  patented  an  improved  hammer-covering 
machine,  built  upon  the  principle  of  drawing  the  felt  upward,  by 
the  aid  of  an  inclined  plane  on  which  the  side  cauls  travel.  This 
principle  and  the  ease  with  which  great  pressure  can  be  brought 
to  bear  with  less  physical  exertion,  as  compared  to  the  old  style 
machine,  has  made  this  Dolge  machine  very  popular.  Undergoing 
more  or  less  changes  this  machine  is  now  in  use  in  most  of  the 
prominent  shops  and  factories.  With  the  use  of  the  heavier  cover- 
ing machine,  the  so-called  "  single  coat  "  hammer  made  its  ap- 
pearance. The  illustrations  show  a  single  coat  grand  hammer 
made  on  the  Dolge  machine  from  felt  one  and  one-half  inches  thick, 
and  an  upright  hammer  made  of  felt  one  and  one-fourth  inches 
thick. 


102 


PIANOS  AND  TIIEIK  MAKEKS 


Mi0 


Single  Coat  Felt  ITiUiiraer  for  Graiul 
Pianos 


Single  Coat  Felt  TT;iiiiiiier  for  Upright 
Pianos 


Opinions  differ  very  niu(*]i  as  to  the  value  of  single  coat  liani- 
mers,  considering  their  increased  cost,  in  comparison  with  the 
double  coat.  The  latter  is  universally  used  at  present,  single  coat 
being  the  exception.  As  far  back  as  1873  the  author  made,  in  his 
factories  at  Dolgeville,  N.  Y.,  for  Stein\va\"  &  Sons,  iiammer  felt 
one  aixl  lln-ee-fourth  inches  thick  in  bass  and  weighing  22  pounds 
to  a  sheet,  which  measured  'M\  inches  wide  and  \'.\  inches  long.  This 
extraordinai-y  thick  felt  was  used  for  concert  grand  jnano  ham- 
mers, and  although  splendid  results  were  achieved,  the  heavy 
iiannner  alTecled  the  Icmch  too  nuich.  It  is  now  generally  agreed 
that  felt  weiuhin<i-  17  to  IS  i^ounds  to  a  slieet  is  sufficientlv  lieavy 
for  gi;iM(l  lianuners,  and  l.'l  to  1-1  pounds  is  the  usual  weight  of 
felt  used  foi-  upright  hammers. 

AVhile  the  modein  liammer-covering  machine  does  turn  out  a 
much  more  uniform  hanmier  all  through  the  scale  than  coukl  pos- 


PIANO  HAMMERS 


103 


sibly  l)e  produced  by  the  best  artisan  by  the  handmade  method, 
further  progress  and  improvements  are  necessary  in  order  to 
produce  a  perfect  hannner  which  will  require  less  needle  work 
on  the  part  of  the  voicer  or  tone  regulator.  With  the  ])resent 
machines,  the  operator  has  no  control  of  the  pressure  exercised; 
he  does  not  know  but  has  to  guess  whether  the  felt  is  pressed 
down  sufficiently  or  not.  The  rigidness  of  the  covering  machine 
does  not  permit  of  any  variation  in  pressure  to  be  used,  so  neces- 
sary on  account  of  the  uneven  texture  of  the  felt.  The  author  has 
given  this  subject  most  serious  thought  for  the  past  forty  years, 
and  has  made  many  costly  experiments,  which  finally  culminated 
in  the  construction  of  a  machine  as   shown  in  the  illustration. 


Dolge-Gardner  Compressed  Air  Hammer-Covering  Machine,  1910 


Compressed  air  is  used,  and  the  required  pressure  can  be  gauged 
to  a  nicety  and  regulated  as  the  texture  of  the  felt  or  firmness 
required  by  the  piano  maker  may  dictate.  Having  three  inde- 
pendent cylinders,  more  or  less  pressure  can  be  applied,  as  may 
be  desirable,  at  either   section  of  the  set  of  hammers.     Martin 


104 


I'lAXoS  AXD  TUKiiJ  MAKEIJS 


Oardner,  for  years  master  meclianic  in  tlic  AH'i'cd  Dolii'e  Felt 
I'uiiipaiiy  rat-torii's,  l)()l,ux'\'ilk',  Cal.,  l)iiill  this  niac'liiiic  luuk'r  the 
aiitlioT-'s  iiisti-nctioii  and  Mipcrvisioii.  and  desiiined  and  originated 
iiiaii_\-  iiiiportaiil  detail  iiiiiti-ovements,  Similai-  to  tlie  ("ollins 
machine,  the  canls  ai"e  removabh'  after  the  I'elt  is  ulned  on  to  the 
mohling,  and  it  is  estimated  that  two  expert  i^luers  can  cover 
about  two  hundred  and  i'orty  set  oi'  liannners  in  ten  hours  on  one 
machine.  AVhih^  speed  and  savin.^'  of  floor  sj^ace  are  desiral)le 
in  modern  niaiinl'acturinii-,  the  main  o]),ject  souglit  for  in  this 
machine  is  the  production  of  a  liammer  liaving  an  even  gradation 
in  texture.  It  is  entirely  within  the  control  of  the  o])erator  to 
give  the  hannner  any  desired  degree  of  firmness  with  this 
machine. 

Exhaustive  experiments  which  the  author  has  made  during  the 
jiast  thii'ty  years  in  the  construction  of  automatic  hammer-cover- 
ing machines,  to  l)e  operated  by  steam  or  hydraulic  ])ower,  have 
led  to  the  conclusion  that  coni})ressed  air  is  })referable  in  every 
res]^ect,  because  the  cylindei-s  are  instantly  and  independently 
controlled  l)y  a  tuiii  of  a  valve. 

Mention  must  ))e  made  of  a  i)atent  ob- 
tained in  1893  ])y  John  Ammon,  a  New  York 
piano  maker,  for  a  })rocess  of  gluing  a  striji 
of  tattered  hannner  felt  together  and  theii 
inserting  the  same  into  a  wooden  liammer 
head,  having  two  ])rongs  on  top.  Ammon 's 
motive  was  to  economize  felt.  Tt  does  require 
much  less  felt  by  Amnion's  method  than  glu- 
ing the  felt  around  the  molding,  but  the  ham- 
mer designed  1)>  Ammon  is  utterly  imprac- 
ticable foi-  man_\'  reasons,  principally  l)ecause 
it  is  impos>ihle  to  get  the  treble  hammers  of 
sufficient    firmness    to    produce    a    satisfactory 

tone.  Ammon  Hammer 


PIANO  HAMMERS 


105 


Alfred  Dolge  saw  in  Amnion's  invention  the  embryo  of  a  ham- 
mer which  might,  to  a  considerable  extent,  solve  the  vexing  prob- 
lem of  preventing  the  flattening  out  of  the  hammer  through  usage. 
It  is  impossible  to  jn-oduee  a  well  pointed  hammer  with  the  present 
method  of  hammer  covering,  even  if  the  felt  is  forced  into  a  sharply 
pointed  mold  of  the  covering  machine.  The  hammer  will  invari- 
ably flatten  out  when  it  comes  under  the  needle  of  the  voicer  or 
tone  regulator  and,  of  course,  much  more  so  through  striking  the 
strings,  because  it  has  no  bracing  or  support  of  any  kind  and 
can  give  way  freely.  Consequently,  after  short  usage,  all  felt  ham- 
mers show  a  flat  surface  on  top,  so  inimical  to  good  tone  produc- 
tion. To  combat  this  flattening  out  of  the  hammers  Steinway  & 
Sons  saturate  the  felt  about  half-way  up  with  a  chemical  solu- 
tion, which  finally  hardens  that  part  of  the  felt  sufficiently  to 
check  the  flattening  out  to  some  extent.  This  led  the  author 
to  the  idea  of  making  a  hammer  molding  in  which  the  upper 
half  is  split  open  by  a  saw-kerf,  thus  obtaining  two  x^rongs  which 
are    shaped    by    the    ordinary    wood-steaming    process    into    a 


i 


ei  •  o  i       i.   1  TT  Molding  for  Animoii-Doloe 

Steinway  Saturated  Hammer  "^  ° 

Hammer 


Ammon-Dolge  Hammer 


106  JMAXOS  AXD  TIIKIK   MAKKRS 

clasp.  The  ('ljis})-liko  proiii^'s  reacli  1k'\<iii(1  the  center  of  the 
g-lued-iip  rdt.  As  shown  in  the  ilhist  inlloii.  the  felt  is  forced 
into  the  clas})  and  then  M'rurcd  by  a  iiictal  agraffe,  passing 
throno-h  both  ])i"ongs  of  the  chis]).  tightening  the  prongs  so 
firmly  on  the  felt  that  a  (Inltcning  onl  of  the  felt  is  imi)0ssible, 
except  throngli  its  wearing  off.  it  is  i-eadily  perceivable  that  the 
fonndation  of  the  haiiiiiicr  so  const I'lict'-Ml  iinist  be  of  a  tinnness 
and  st)lidity  not  atlainable  by  the  old  method  of  covering.  Xot 
only  that  the  center  ]iai"t  of  the  felt  is  glned  togother  very  tightly, 
bnt  the  I'cit  itscit'  is  pressed  between  the  tirm  shoulders  of  tlie 
clasp,  thus  becoming-  one  solid  body  with  the  wooden  head.  The 
author  had  a  grand  ])iano  containing  such  hannners  at  his  home, 
and  although  his  five  bovs  used  this  i)iano  almost  dailv  for  their 
pratice  for  several  years,  the  hannners  showed  very  little  usage 
and  wear.  It  is,  of  course,  important  that  only  the  very  best, 
most  densely  interknitted  felt,  should  j)e  used  for  hammers  of 
this  type.  Instead  of  reducing  the  cost,  as  Amnion  intended,  the 
improved  hammer  of  this  type  costs  fully  twenty-five  per  cent, 
more  to  produce  than  the  ordinary.  The  antlior  is  of  the  o]nnion 
that  this  improvement  in  hammer  making  will  finally  prevail, 
especially  since  much  greater  duiabilit>  is  re([uired  for  the  ham- 
mers in  the  self-playing  piano  than  the  present  form  of  construc- 
tion admits  of. 

The  Soundboard 

The  science  of  acoustics  as  developed  by  Chladny,  Tyndall, 
Helmholtz,  and  in  its  direct  relation  to  the  piano,  especially  by 
Siegfried  Hansing,  has  given  us  nmch  enlightenment  as  to  the 
proper  aiid  correct  laying  out  of  a  scale,  also  the  laws  controlling 
the  production  of  sound  )>y  percussion  and  otherwise,  but  none 
of  these  scientists  can  advise  as  to  the  scientifically  correct  con- 
struction of  tile  soundboard.     The  much  coddled  theory  of  "  tone 


SOUNDBOAEDS  107 

waves  "  found  its  most  obstinate  opponent  in  the  soundboard  of 
tlie  pianoforte,  disproving  forcibly  almost  every  argument  brought 
forward  in  favor  of  this  theory.  Not  tinding  any  assistance  from 
scientists,  the  piano  maker  had  to  rely  entirely  u})on  empiric  ex- 
periments, to  construct  a  soundboard  best  adapted  to  his  scale. 
All  the  experhnents,  and  their  names  are  legion,  ended  in  coming 
back  to  the  plain  soundboard  as  constructed  by  the  clavichord  and 


harpsichord  makers  of  the  early  days,  namely,  a  board  of  as  large 


"a  size  as  the  case  of  the  piano  would  permit,  made  of  the  best 
quality  of  well-seasoned  firj  strengthened  by  bars  or  ribs-.-giu.eci 
on  ci-ossways.  The  various  writers  on  piano  construction  differ 
materially  regarding  the  importance  of  the  soundboard  in  relation 
to  tone  development  in  the  i)iano.  The  careful  and  learned  Dr. 
Oscar  Paul,  laboring  under  the  ban  of  the  "  wave  theory,"  insists 
that  the  soundboard  is  the  very  soul  of  the  piano  and  that 
tone  quality  as  well  as  volume  depend  altogether  upon  its  con- 
struction. Indeed,  he  holds  that  the  tone  is  produced  by  the  sound- 
board and  not  by  the  string. 

Siegfried  Hansing  in  his  book  "  The  Pianoforte  and  Its 
Acoustic  Properties,"  shows  the  fallacy  of  this  contention  beyond 
contradiction.  He  bases  his  argument  on  Pellisow's  proven  doc- 
trine that  the  ear  does  not  perceive  sound  through  so-called  tone 
waves,  but  because  of  the  shock  or  jolt  by  which  the  sound  is 
created.  Consequently,  Hansing  looks  upon  the  soundboard  as 
a  drum,  upon  which  the  vibrations  of  the  strings,  caused  by  the 
striking  of  the  hammer,  are  delivered  as  shocks  or  jolts. 

Hansing  disclaims  the  existence  of  the  ear  harp,  assumed  by 
Helmholtz  and  others,  as  an  impossibility  and  maintains  that  the 
ear  is  an  apparatus  to  measure  the  intervals  between  shocks,  dis- 
tinguishing the  higher  tones  by  their  shorter,  and  the  lower  tones 
by  their  longer,  intervals.  He  does  not  believe  that  a  properly 
constructed  soundboard  ever  has  any  transverse  vibrations  which 
affect  the  tone,  as  demonstrated  by  the  successful  experiments  of 


108  PIANOS  AND  TllKIR  MAKERS 

^Matlmsliek  and  ]\Ioser,  whose  double  soundboards  were  glued  to- 
\  gotlier  so  that  the  g'raiii  of  tlio  one  crossed  the  grain  of  the  other 
at  right  angles.  This  method  ui'  construction  makes  any  transverse 
vi1)ration  ini])ossible,  and  instruments  containing  such  boards  are 
not  interior  in  volume  and  (luality  of  tone  to  any  other. 

Hansing  thus  proves  that  the  soundboard  does  not  give  forth 
■sounds,  but  that  it  only  augments  and  transmits  the  sound  origi- 
nating with  the  string,  through  a  tremor,  which  is  the  effect  of 
the  motion  ])rodu<'ing  the  sound;  namely,  the  jjercussion  of  the 
string  by  the  hammer.  This  important  discovery  will  assist  mate- 
rially in  the  further  search  for  soundboard  imi)rovements,  but 
even  Hansing  admits  that  for  the  present  the  i)iano  constructor 
has  to  rely  on  empiric  experiments  for  final  results. 

To  mention  a  few  of  the  most  telling  experiments  made  to  im- 
prove the  efficiency  of  the  soundboard,  we  find  Jacob  GoU  of 
Vienna  using  iron  and  copper  with  reasonable  success  in  1823; 
but,  no  doubt,  the  primitive  conditions  of  the  metal  industries  of 
those  days  made  the  use  of  metal  too  expensive,  as  com])ared  to 
wood.  Henri  Pape  of  Paris,  that  king  of  piano  empirics,  experi- 
mented not  only  with  all  kinds  of  wood  and  metal,  but  tried  even 
parchment.  All  these  materials  transmitted  the  sound  of  the 
strings,  except  the  parchment,  which  proved  totally  unfit  for  use 
in  the  treble  sections. 

During  the  writer's  engagement  witli  the  Matlmshek  factory 
in  18(J7-(>9,  exhaustive  experiments  were  made  to  find  the  most 
responsive  thickness  for  a  s(mndl)oard.  With  boards  from  fully 
one  inch  in  thickness,  without  ribs,  graduated  down  to  ])oards  only 
thrcc-sixtecnths  of  an  inch  thick  in  treble,  and  with  proportionately 
heavy  ribs,  numberless  tests  were  made.  Curious  to  relate,  all  of 
the  pianos  had  a  satisfactory  tone,  differing,  of  course,  in  ([uality. 
The  thick  boards  res})onded  with  a  thick,  somewhat  stiff,  woody 
I- —  quality,  the  ])ianos  with  the  thinn(>r  ])oards  had  a  more  sympa- 
thetic, soulful,  but  weaker  tone.    The  most  satisfactory  tone  quality 


SOUNDBOARDS  109 

/;  was  found  iu  the  pianos  which  had  the  "  regulation  "  soundboard, 
three-eighths  of  an  inch  thick  in  treble,  tapering  otf  to  one-fourth 
of  an  inch  in  bass,  ribs  placed  at  nearly  equal  distances  apart, 
except  in  the  last  treble  octave,  where  they  lay  somewhat  closer 
.together.  These  trials  and  tests  proved  conclusively  that  the 
soundboard  does  not  produce  sound  by  aid  of  sound  waves,  but 
simply  transmits  and  augments  the  sound  produced  by  the  vibra- 
tion of  the  string.  They  further  proved  that  the  soundboard  is 
not  nearly  as  much  of  a  factor  in  tone  production  as  the  string, 
the  proper  length,  thickness  and  position  of  which,  together  with 
the  most  advantageous  striking  point  for  the  hammer,  are  the 
all-important  factors  to  be  considered  in  piano  construction. 

Attempts  to  increase  the  volume  of  tone  by  using  double  sound- 
boards, connected  by  wooden  posts  or  otherwise,  the  imitation  of 
the  violin  or  cello  form,  carefully  worked  out  corrugated  sound- 
boards, etc.,  have  all  been  in  vain  and  are  discarded  for  good. 
Several  ingenious  devices  to  sustain  the  resistance  of  the  sound- 
board against  the  downward  pressure  of  the  strings  are  recorded. 
Among  them  Mathushek's  "  equilibre  "  system,  patented  in  1879, 
is  perhaps  the  most  scientific,  but  the  result  achieved  is  not  in 
proportion  to  the  increased  cost.  Mathushek  surmised,  what  Han- 
sing  established  as  a  scientific  fact,  that  the  soundboard  is  not 
atfected  by  so-called  sound  waves,  and  when  he  discarded  his 
equilibre  system  because  of  its  high  cost,  he  returned  to  the  thick 
soundboard  without  ribs.  In  1891  he  patented  his  duplex  sound- 
board, which  is  a  combination  of  two  boards,  cross-banded  and 
glued  together.  The  boards  are  made  thickest  at  the  center  where 
the  bridge  rests,  in  order  to  withstand  the  pressure  of  the 
strings. 

On  October  2,  1900,  Richard  W.  Gertz  obtained  a  pat'ent  for  a 
Tension  Resonator  for  Pianos,  the  purport  of  which  is  to  regulate 
the  pressure  in  the  arch  of  the  soundboard  against  the  strings 
and  to  assist  the  vibratory  efficiency  of  the  entire   soundboard, 


]10 


PIAXOS  AXn  TTTKTT7  ^FAKERS 


tlioroln'  iiKTonsiiio-  tlio  inton- 
sity  of  tone  produced  by  the 
striking  of  the  liainnier 
against  the  string. 

Another  function  of  this 
resoiiatoi'  is  to  restore  the 
original  arclicd  form  of  the 
soundboni'd  wlien.  tlirough 
age  or  atmospheric  intiu- 
ences,  the  same  has  given 
away  to  the  pressure  of  the 
strings. 

The  tension  rods  with  the 
conical  shaped  head,  inserted 
into  tlie  rim,  draw  together 
the  entire  rim  u|)on  which 
the  soundboard  is  fastened, 
and  force  the  Latter  back  to 
its  original  arched  form,  re- 
instating and  enlivening  the 
vibratory  action  of  the  entire 
board. 
Eadiating  from  the  center  of  the  ])iano  to  all  parts  of  the  rim 
the  tension  rods  can  be  screwed  up,  either  simultaneously  to  bring 
pressure  upon  ilic  entire  board,  or  individually  if  any  part  of 
the  sonndboai-d  should  show  a  pronounced  llatness.  They  are 
furthermore  of  great  value  in  maintaining  the  correct  form  and 
shape  of  the  rim.  This  invention  has  been  applied  to  all  the  grand 
l)ianos  made  by  ^fason  &  Hamlin  since  the  granting  of  the  patent. 
ExperieiU'e  so  far  has  shown  that  the  best  material  for  sound- 
boards is  the  wood  of  the  fir  tree,  growing  in  the  mountain  regions 
of  Southern  Europe  and  North  America. 

Whether  or  not   the  development  of  the   steel   industry  will 
furnish  the  piano  maker  eventually  with  rolled  sheets  for  sound- 


UottDiii  nf  (Irjiiiil   I'iaiH)  slinwiiig  Kii-liard  W 
Gertz's  Tension  Resonator 


SOUNDBOAEDS 


111 


boards,  made  of  proper 
vibratory  metal,  and  in  ta- 
pered form,  is  speculative. 
It  is  not  improbable,  how- 
ever, that  the  piano  of  the 
future  may  have  a  metal 
soundboard.  AVe  do  know 
that  the  sound  in  the  piano 
originates  with  the  steel 
string,  and  that  it  is  only 
transmitted  by  the  sound- 
board, materially  assisted  by 
proper  construction  of  the 
wooden  frame  of  the  piano. 
We  also  know  that  the  iron 
frame  has  no  deleterious  in- 
fluence upon  the  tone  quality, 
and  since  all  piano  construct- 
ors are  still  seeking  for  a  clear,  bell-like,  singing  quality  of  tone^ 
may  not  the  solution  be  found  in  a  soundboard  of  steel,  so  con- 
structed as  to  successfully  withstand  the  pressure  of  the  strings^ 
and  to  assist  the  steel  strings  in  tone  production? 

Evidently  the  soundboard  is  the  only  part  of  the  modern  piano 
which  calls  upon  the  inventor  for  further  investigation,  on  scien- 
tific lines,  until  the  laws  are  found  upon  which  to  build  a  piano, 
not  necessarily  with  a  louder,  but  with  a  more  soulful  tone,  suck 
as  the  old  clavichord  possessed  in  limited  quantity. 


Richard  W.  Gertz's  Resonator 
View  of  Soundboard  Rim  and  Tension  Rods 


PART  ONE 


CHAPTER  IV 

The  Supply  Industries,  Lumber  (old  and  new  methods  of  season- 
ing), Felt,  Wire,  Actions. 

Felt  Making,  Pape,  Whitehead,  Naish,  Billon,  Fortin,  Weickert, 
Dolge. 

Piano  Wire,  Fuchs,  Webster  &  Horsfall,  Miller,  Poehlmann, 
Washbnrn  &  Moen,  Houghton,  Smith,  World's  Fair  Tests. 

Actions,  Brooks,  Isermann,  Gehrling,  Herrburger-Schwander, 
Morgenstern  &  Kotrade,  Lexow,  Langer  &  Company,  Fritz  & 
Meyer,  Keller,  Friekinger,  Seaverns. 


PART    ONE 


CHAPTER  IV 


THE  DEVELOPAIENT  OF  THE  MANUFACTURE   OF 
PIANO  MATERIALS  AND  SUPPLIES 

PERHAPS  no  other  class  of  manufacturing  depends  more 
largely  upon  auxiliary  industries,  each  of  itself  of  con- 
siderable magnitude,  than  the  piano  industry.  It  is  fur- 
thermore true  that  the  piano  industry  could  not  have  made  its 
marvelous  progress,  had  not  the  auxiliary  industries  kept  pace 
with  the  inventive  piano  maker,  oftentimes  anticipating  his  wants 
and  providing  superior  material  which  permitted  the  improve- 
ment of  the  piano.  Wire  for  strings  and  felt  for  hammers  are 
two  of  the  materials  which  have  been  continually  improved  by  the 
manufacturers  in  advance  of  the  piano  maker's  demands.  It  is 
therefore  proper  that  the  development  of  the  supply  industries 
should  be  recorded  in  these  pages. 

All  inhabited  parts  of  the  globe  contribute,  more  or  less,  the 
raw  material  for  a  piano.  Asia  and  Africa  supply  the  ivory  and 
ebony  for  the  keyboard.  Sweden,  England  and  America,  iron  ore 
for  strings,  pins  and  plates.  North  and  South  America,  Australia 
and  Africa,  wool  for  felts,  while  Europe,  North  and  South 
America,  the  Philippine  and  West  India  islands  supply  the  various 
kinds  of  wood. 

115 


li(j  PIANOS  AND  TllEIlJ  ^lAKEKS 


Wood  Used  in  Piano  Construction 

It  is  not  so  iiiniiy  years  ago  since  the  piano  maker  of  Germany 
was  obliged  to  go  to  tlie  forest  and  buy  at  auction  such  logs  as 
lie  might  select  for  his  purjjose.  If  a  sawmill  was  near  by,  he  had 
his  logs  delivered  there,  giving  the  sawyci-  special  instruction  as 
to  how  to  saw  each  log.  Oi'tcnlimes  the  logs  had  to  be  transported 
to  his  factory  yar(h  where  they  had  to  be  sawed  into  ])l:inks  and 
boards  by  two  nu'u  moving  a  big  handsaw  up  and  down,  one  man 
standing  on  top  of  the  log,  the  other  in  a  pit  under  the  log.  The 
writer  saw,  at  a  i)rominent  factory  in  London,  this  process  still 
in  vogue  in  1879. 

Willi  the  introduction  of  ])ower-driven  woodworking  machinery, 
the  millmen  and  lumber  dealers  began  to  specialize,  and  supplied 
the  piano  maker  wuth  selected  boards  or  planks,  sawed  to  the  thick- 
ness and  length  recpiired.  Keceiving  the  lumber  from  the  mill, 
it  was  carefully  stacked  u})  for  air  seasoning.  As  soon  as  the  sap 
had  hardened,  the  planks  were  brought  into  the  shop  and  there 
again  carefully  stacked  up  about  7  feet  from  the  floor,  to  get  the 
benefit  of  the  even  temperature  of  the  closed  room.  This  awkward 
and  slow  process  of  seasoning  lumber  after  being  air-dried  was 
done  away  with  by  the  introduction  of  the  steam-heated  dry-kiln. 
Endless  exi)eriments  have  been  made  to  force  the  saj)  out  of  the 
wood,  by  boiling,  or  using  tremendous  pressure  upon  the  lumber 
as  soon  as  it  came  from  the  saw,  in  order  to  do  away  w^ith  the 
costly  air  drying  })rocess,  but  none  has  turned  out  a  success  for 
lumber  to  be  used  in  pianos.  Wood  dried  so  forcedly  loses  all  its 
strength, 'life  and  pliability,  and  since  every  part  of  tiie  ]nano  is 
supposed  to  assist  in  tone  production,  it  follows  that  wood 
deadened  by  forced  drying  is  unfit  for  use.  Hence,  a  well  stocked 
lumber  yard  is  to  this  date  a  })ositive  necessity. 


SOT^NDBOAT^DS  .        117 

Some  of  the  large  piano  iiiaiiiifactnrers  of  America  carry  as 
much  as  three  to  five  million  s(inare  feet  of  lumber  constantly  in 
their  yards.  A  New  York  corporation  invested  $400,000  not  long 
ago,  in  a  stock  of  hardwood  veneers  14  to  28  feet  long,  to  be  used 
for  bent  rims  on  grand  ])ianos,  merely  for  fear  that  such  long 
veneers  of  the  required  straight  grain,  length  and  width  could 
not  often  be  found  in  the  market.  The  investment  is  considered 
a  good  one  from  a  financial  point,  since  hardwood  is  rapidly 
advancing  in  value,  far  in  excess  of  the  interest  account. 

For  the  manufacturing  of  veneers,  inventors  have  been  pro- 
lific in  devising  improved  sawing  appliances  as  well  as  rapidly- 
working  automatic  machines  for  cutting  with  knives.  An  entire 
log  can  be  placed  in  front  of  the  knives,  which  are  up  to  16  feet 
long,  and  veneers  cut  off,  as  thin  as  one  thirty-second  of  an  inch, 
continuously  until  the  log  is  used  up. 

Soundboards 

The  manufacture  of  lumber  for  soundboards  has  been  fol- 
lowed up  as  a  specialty  for  over  100  years.  The  first  specialists 
in  this  line  were  owners  of  forests  in  the  mountains  of  Bohemia 
and  Tyrol.  Instead  of  sawing  the  logs  into  boards,  they  were 
sp  it,  like  the  old-time  American  fence  rail,  into  boards  of  about 
one  inch  thickness.  The  clavichord  or  piano  maker  of  100  years 
ago  would  not  have  thought  of  using  sawed  lumber  for  his  sound- 
boards. He  believed  in  the  theory  that  sound  waves  traveled  along 
the  grain  of  the  wood,  and  since  the  saw  would  not  follow  the 
grain,  unless  the  tree  had  grown  up  perfectly  straight  (which  no 
tree  ever  does),  the  piano  maker  imagined  that  the  imperceptible 
crossing  of  the  grain  by  the  saw  would  interfere  with  the  sound 
waves.  To-day,  with  a  production  of  approximately  650,000  pianos 
per  year,  all  the  lumber  for  soundboards  is  sawed,  either  with 
gang  or  circular  saws,  and  the  pianos  are  better  than  ever. 


118  PIANOS  xVXD  'niKIIJ  MAKKIJS 

The  Bolii'iniaii  and  Swiss  iiiaimracturers  of  soiiiulboard  lumljer 
prepared  their  itr(i(hict  most  carerully.  Aftci-  ciitling  out  all  knots, 
shakes  and  other  imperfections,  tlie  roiigli  hoards  were  smoothed 
off  ])y  liaiidphniin«;-,  cut  into  lengths  of  from  4  to  8  feet  and  then 
carefully  i)acked  in  Ijoxes  2  feet  wide,  containing  (50  layers  each. 
Length  and  widtli  of  board  dictated  the  pjice  of  the  lum1)er, 
]>oards  S  foct  long,  4  l)oards  to  the  layer,  bi'inging  nearly  twice  as 
much  per  square  foot  as  boards  4  feet  long  and  having  5  or  G 
to  the  layer.  In  America,  soundboard  himber  was  sold  as  it  came 
from  the  sawmill,  and  the  i)iano  maker  could  hardly  ever  utilize 
more  than  forty  ])er  cent,  of  what  he  bought. 

The  author  revolutionized  this  branch  of  the  supply  business 
by  commencing  in  1874  to  manufacture  finished  soundboards  for 
the  trade  at  his  mills  in  Dolgeville,  N.  Y.  This  innovation  was 
welcomed  by  the  piano  makers,  who  could  now  carry  a  full  stock 
of  boards  on  hand,  exposing  the  finished  board  to  a  thorough  sea- 
soning in  their  factories,  for  as  long  a  time  as  desired,  with  less 
investment  than  was  necessary  to  carry  a  sufficient  stock  of  sound- 
Ijoard  lumber  in  their  yards.  I  and  my  associates  invented  a  num- 
ber of  special  devices  and  machines  for  gluing  up  and  planing  the 
entire  boards,  none  of  which  was  patented.  Among  these  machines 
the  great  cylinder  i)laner  with  bed  and  knives  five  feet  wide  must 
be  nientioned.  Every  builder  of  woodworking  machinery  then  in 
business  refused  to  accept  the  order  for  such  a  machine,  claiming 
that  a  width  of  three  feet  was  the  limit  of  safety  for  a  i)laning 
machine  cylinder.  I  constructed  a  machine  ])laning  five  feet  in 
width  which  was  such  a  success  that  similar  machines  are  now 
in  use  in  many  factories  of  Europe  and  America.  Two  men  can 
plane  300  soundboards  to  perfection  on  such  a  machine,  within 
10  hours,  while  it  is  an  easy  matter  to  finish  off  400  boards  per 
day  on  the  modern  cylinder  sandpa])ering  machine.  The  best  work- 
man could  not  finish  over  10  boards  per  day  with  a  handi)laue. 


PIANO  CASES  119 

Fulh'  ninety  per  cent,  of  the  soundboards  used  are  now  sup- 
plied to  the  piano  trade  by  concerns  making  a  specialty  of  the 
business.  The  forests  of  Bohemia  and  Tyrol  having  been  exhausted, 
the  European  makers  have  to  get  their  supply  of  lumber  from 
Galicia  and  Eoumania.  In  America  the  forests  of  the  Adiron- 
dacks  and  White  Mountains  have  from  the  beginning  been  the 
source  of  supply.  Even  these  great  forests  are  passing  rapidly 
and  new  sources  of  supply  must  be  sought.  The  author,  after 
thorough  personal  investigation,  found  splendid  material  on  the 
west  coast  of  North  America,  more  particularly  in  the  mountain 
forests  of  Oregon  and  AVashington,  and  consequently  started  a 
soundboard  factory  at  Los  Angeles,  Cal.,  in  1903,  supplying  not 
only  the  American  trade,  but  exporting  largely  to  Germany  also. 

The  best  soundboard  lumber  comes  from  the  mountain  districts 
of  the  temperate  zone,  at  an  altitude  of  3,000  to  5,000  feet  above 
sea,  where  timber  growth  is  thriftiest.  Trees  not  over  100  years 
of  age  are  the  most  desirable,  the  wood  being  strong  and  elastic. 
Trees  under  70  j-ears  of  age  are  not  matured  and  have  too  much 
undeveloped  sapwood. 

Several  of  the  American  soundboard  manufacturers  are  also 
making  a  specialty  of  ribs,  bridges,  wrest  planks  and  complete 
backs  for  upright  pianos. 

Piano  Cases 

Case  making  for  the  trade  has  been  a  specialty  in  America 
for  over  50  years,  and  nearly  all  manufacturers  of  commercial 
pianos  buy  their  cases  ready  made.  It  is  readily  understood  that 
a  manufacturer  making  a  specialty  of  cases,  producing  as  many 
as  10,000  to  30,000  per  year,  can  afford  to  make  a  much  larger 
investment  for  labor-saving  machinery  and  devices  than  a  piano 
maker  who  turns  out  500  to  2,000  pianos  per  year.  The  tendency 
of  the  age  is  for  economic  specialization  in  all  branches  of  Indus- 


120  TMAXOS  AXD  TITKTl?   MAKKHS 

try,  and  tlie  "  eoinpilcr  "  ol"  the  various  ready  made  ])arts  of  a 
piano  (Iocs,  Ix-yoiid  d<nil>t.  produce  a  better  comincrci.il  instrument, 
lli.iii  if  lie  >li(tuld  attempt  to  make  eaeh  part  of  tiic  i)ian()  in  his 
own  >lit)|i. 

'i'lii'  U\-nii'ndou>  i;ro\vtli  ol"  the  piano  imhistry  has,  on  tlie  otlier 
hand,  develo])od  individual  eoneerns,  ^vhi(•h  turn  out  from  5,000 
to  "JO, 000  piniios  per  year.  Such  firms,  of  course,  avail  themselves 
of  the  advantages  of  hd)or-savin<»"  machinery  in  nil  departments. 
Some  of  these  large  concerns  own  forest  lands,  have  large  saw- 
mills, and,  of  course,  make  their  own  cases,  keys  and  actions,  even 
casting  tlioir  own  ii-(ui  ]»h'ites. 

The  London  manufacturers  were  the  first  to  introduce  power- 
di'iven  machinery  in  tlieir  factories.  As  far  back  as  1850,  some 
of  their  leading  firms  were  producing  from  2,000  to  3,000  ])ianos 
l)er  annum,  a  (juantity  which  matle  the  use  of  steam-power 
machinery  an  economic  ])roposition.  ^Machinery  is  only  economic 
when  it  can  be  continually  em})loyed.  The  piano  maker  with  a 
limite(l  production  cannot  avail  himself  of  that  advantage.  Con- 
se(|uently,  as  a  matter  of  commercial  and  industrial  evolution,  the 
s})ecialists,  such  as  case  makers,  key  and  action  makers,  have 
become  indispensable  to  the  industry.  They  made  possil)le  the 
l)roduction  of  a  idiable,  satisfactory  instrument,  at  a  })rice  within 
the  reach  of  the  masses. 

Development  of  the  Piano  Felt  Industry 

Felt  is  a  fabric  formed  of  wool  or  hair,  or  wool  and  hair,  by 
taking  advantage  of  the  natural  tendency  of  the  fiber  to  interlace 
and  mat  together  ])y  aid  of  the  moisture  and  heat  during  the  con- 
tinuous process  of  rolling,  beating  and  pressure.  The  invention 
or  discovery  of  the  felting  process  dates  back  to  the  age  of  our 
cave-dwelling  ancestors,  whose  sole  wardrobe  was  a  sheepskin 
coat,  which  through  use  became  denselv  matted.     Julius  Ca'sar 


PIANO  FELT  121 

organized  a  light  brigade,  which  had  felt  breastplates  as  a  pro- 
tection against  the  enemies'  weapons.  In  the  ruins  of  Pompeii 
a  complete  plant  for  scouring  and  pressing  felts  has  been  found. 

The  first  attempt  at  using  machinery  for  the  production  of 
felts  was  made  in  England.  The  patent  granted  to  P.  F.  Fischer 
of  London,  1835,  describes  a  piano  hammer  felt,  which  is  firm  on 
one  side  and  soft  on  the  other,  and  made  in  sheets,  tapering  in 
thickness.  As  stated  elsewhere,  this  description  is  identical  with 
Henri  Pape's  invention,  and  can  undoubtedly  be  traced  to  him. 

Whitehead  Brothers  of  Manchester,  England,  are  said  to  be 
the  first  who  made  the  manufacturing  of  piano  hammer  felt  a  spe- 
cialty. They  were  followed  by  Billon  and  Fortin  of  Paris  and 
Weickert  (1847)  of  Leipsic,  Germany.  Naish  of  Wilton,  England, 
started  in  1859.  These  firms  controlled  the  market  until  the  author 
started  his  factories  in  1871. 

There  are  two  essential  requisites  for  a  good  piano  hammer 
felt. 

First,  it  must  be  well  felted  to  insure  wearing  quality,  because 
the  continual  pounding  of  the  hammer  against  the  steel  strings  in 
the  piano  is  liable  to  cut  the  fiber  of  the  felt  if  the  fiber  is  not 
closely  connected.  With  this  thorough  felting,  however,  a  pro- 
nounced elasticity  is  indispensable,  in  order  to  enable  the  hammer 
to  rebound  quickly  from  the  string.  From  these  two  requisites 
arises  the  art  of  making  felt  for  piano  hammers. 

A  short  description  of  the  process  of  felt  making  will  interest 
many  readers.  Wool  of  the  merino  sheep,  raised  either  in  North 
America  or  Cape  Colony  in  Africa,  is  best  adapted  for  hammer 
felt.  In  the  scouring  process,  the  weight  of  the  wool,  as  it  comes 
from  the  sheep's  back,  shrinks  about  seventy-five  per  cent.;  that 
is  to  say,  100  pounds  of  raw  wool  will  yield  only  25  pounds  of 
workable  wool  after  scouring.  After  the  wool  is  thoroughly  dried 
and  opened  up  by  passing  through  so-called  picker  machines,  it 


122  14AXUS  AND  TllKlK'   MAKKKS 

is  t  ho  roll  nil  Iv  eaidod  aiul  tlieii  formed  into  sheets.  Since  ahuost 
every  piano  maker  has  his  own  i)efii!iar  notions  as  to  the  thickness 
and  tai)ering  of  tlie  felt,  there  were  no  standards  in  the  beginning 
and  the  felt  had  to  be  formed  by  hand,  putting  one  layer  of  wool 
over  the  other  as  the  tapering  would  dictate.  A  slieet  of  felt 
weighing  about  12  i>oiinds  when  finished,  measuring  one  inch  in 
tliickness  in  Ikiss,  and  tnjiering  down  to  one-eighth  of  an  inch  in 
treble,  being  about  38  inches  sciuare,  would  measure  T>  inches 
in  thickness  in  ])ass,  one  inch  in  ticliU'  and  be  about  54 
inches  square  before  the  felting  began.  This  unwieldy  mass 
of  wool  is  hardened  down  and  fulled,  until  the  sheet  has  shrunk 
to  tlie  above-mentioned  size  and  tln'ekness.  Xo  chemicals  are  used 
by  any  good  felt  maker  in  the  fulling  process,  only  soap  and  hot 
water  being  a])i)lied.* 

In  1874  the  author  invented  a  j^rocess  by  which  the  wool  is 
fed  through  the  cards  in  accordance  with  a  correct  mathematical 
calculation,  so  as  to  form  on  an  ajiron  or  licit  the  correct  thickness 
and  taper  required.  This  apron  carries  the  carded  wool  sufficient 
for  six  full  sheets  of  felt,  making  about  100  sets  of  hammers. 

The  apron  passes  through  a  set  of  hardening  rollers,  which 
continuously  unite  each  thin  web  as  it  comes  from  the  carding  ma- 
chine, thus  assuring  a  most  positive  interknitting  of  each  layer  of 
wool  with  the  other,  and  furthermore  a  uniformity  of  taper  not 
attainable  by  the  hand-laying  process. 

The  author  received  for  hi^  liaumier  felts  the  highest  awards 
at  the  World's  Fairs  of  Vienna,  1873;  Philadeli)liia,  1876;  Paris, 
1878;  and  Chicago,  1893.  The  felt  made  by  the  above  described 
process  was  preferred  by  all  the  leading  makers  of  America  and 
extensively  used  by  many  of  the  foremost  juano  makers  of  Europe. 


*  Many  piano  makers  have  the  erroneous  idea  that  the  fine  white  dust,  which 
they  observe  when  sand])a|)ering  the  hammers,  is  composed  of  chalk.  The  admixture 
of  chalk  would  almost  kill  the  fulling  process.  The  white  dust  referred  to  is  pure 
Avool,  finely  ground  by  the  action  of  the  sandpaper  file  of  the  piano  maker. 


PIANO  HAMMERS  AND  WIRE  123 

The  felt  factories  founded  by  Alfred  Dolge  have  been  amalga- 
mated with  a  nmnber  of  other  felt  factories,  producing  principally 
commercial  felts,  and  the  product  has  lost  its  identity. 

Piano  Hammer  Making 

Hammer  making  as  a  specialty  and  rising  to  the  dignity  of  an 
industry  began  in  America  with  the  invention  of  Mathushek's 
hammer-covering  machine,  in  1850.  In  England  the  handmade 
hammers  were  for  many  years  produced  as  a  house  industry. 
American  machines  (Dolge  model)  were  introduced  in  the  London 
shops  about  1880.  Germany  started  this  special  industry  about 
181:5,  when  Merckel  of  Hamburg  supplied  the  action  maker  Iser- 
mann,  and  many  piano  makers,  with  handmade  hammers.  He  intro- 
duced machines  of  his  own  construction  in  1860.  Hammer-cover- 
ing machines  of  the  American  pattern  were  generally  adopted  in 
Germany  about  1870. 

In  America  hammer  covering,  especially  for  the  commercial 
IDianos,  is  largely  controlled  by  the  felt  and  action  makers.  Sev- 
eral firms  make  a  specialty  of  hammer  covering,  but  all  the  larger 
piano  manufacturers  make  their  own  hammers. 

The  Piano  Wire  Industry 

Records  tell  us  that  iron  wire  for  musical  instruments  was 
drawn  at  Augsburg  as  early  as  1351,  but  Fuchs  of  Nuremberg  was 
perhaps  the  first  who  made  the  manufacturing  of  piano  wire  a 
specialty,  supplying  the  clavichord  and  harpsichord  makers  of 
the  18th  century. 

About  1820  a  Berlin  firm  succeeded  in  producing  a  wire  which 
was  soon  preferred  to  Fuchs 's  make,  to  be  again  driven  out  of 
the  market  by  Webster  &  Horsfall  of  Birmingham  who  brought 
out  their  piano  wire,  made  of  cast  steel,  in  1831. 


124  PTAXOS  AXI)  TTTKTR  :\rAKEKS 

This  cast  stool  wiro  was  so  sn]iorior  \o  tlio  iron  wiro  tliat  tlie 
Kiiii'lisli  liriii  sooii  had  a  iiKaiopolw 

]>ut  ill  1>^4()  Martin  Miller  of  \'ioiiiia  oame  out  with  a  wire 
superior  to  Webster's  aud  a  stroiii;'  eoiiipelitiou  began,  especially 
wlion  Tvollason  »S:  Sou,  Siuitli  ^c  Houghton  and  others  also  took  up 
this  industry  in  I'higland. 

]\Iiller's  wii'e  continued,  however,  to  l)e  in  favor  with  most 
of  the  Ciernian  piano  makers,  until  Moritz  Poehhnaun  of  Nurem- 
berg started  to  make  his  woi-ld  rouowuod  ])roduct  about  1855.  In 
the  first  competitive  test,  i*oehhnann's  wire  i)roved  to  be  of  greater 
density  than  ^liller's,  but  not  of  e({ual  tensile  strength.  Miller's 
wire  would,  however,  stretch  much  more  than  Poehhnaun 's,  con- 
sequently Avould  not  stand  in  tune  as  well  as  Poehlmann's  much, 
denser,  better  hardened  wire.  At  the  Paris  Exposition  of  1867 
the  Jurv  on  Piano  Wire  tested  the  various  makes  exhibited,  on  a 
machine  loaned  by  Pleyel,  Wolff  &  Company.  Poehlmann's  wire 
proved  so  far  superior  to  any  other  make  that  he  received  the 
highest  prize.  As  a  natural  consequence  all  the  leading  piano 
manufacturers  of  Europe  and  America  adopted  the  Poehlmann 
make  for  their  pianos.  Moritz  Poehlmann  deserves  particular 
credit  for  his  never-ceasing  efforts  to  imi)rove  his  wire,  not  only 
as  to  tensile  strength,  but  also  even  gradation  of  sizes  and  excel- 
lent polish,  so  necessary  a  protection  against  rust.  Poehlmann's 
remai'kable  success  not  only  incited  his  competitors  to  greater 
effort,  but  caused  the  starting  of  a  number  of  new  wire  factories 
in  Germany. 

In  America  Wash])urn  &  Moen  of  Worcester  have  made  very 
good  piano  wire  since  18()().  The  American  wire  always  had  an 
exceedingly  high  i)olish,  hardly  ever  attained  l)y  the  European 
makers,  but  it  often  lacked  the  requisite  density  and  necessary 
uniformity  of  tensile  strength. 


PIANO  WIRE  125 


OFFICIAL  TESTS  OF  TENSILE  STRENGTH  OF 

MUSIC  WIRE 

1.  Official  Test  hy  the  Jury  of  the  World's  Exhibition,  Paris, 

1867. 

Pleyel,  Wolff  &  Company's  testing  maeliine  used. 
MoRiTz  Poehlmann's  wire  Nos.    13     14     15     16     17     18 

broke  at  a  strain  of Lbs.  226  261  292  296  312  318 

English  wires  broke  at  a  strain  of .  .  ...   214 274 

2.  Official  Test  hy  the  Jury  of  the  World's  Exhibition,  Vienna, 

1873. 

MoRiTz  Poehlmann's  wire  Nos.    13     14     15     16     17     18 

broke  at  a  strain  of Lbs.  232  260  290  300  322  336 

Martin  Miller  &  Sons'  wire  broke 

at  a  strain  of 168  192  206  232  255  280 

"^ 

3.  Official  Test  by  the  Jury  of  the  World's  Exhibition,  Phila- 
delphia, 1876. 

Steinway  &  Sons'  testing  machine  used. 

MoRiTz  Poehlmann's  wire  Nos.    13     14     15     16     17     18 

broke  at  a  strain  of Lbs.  265  287  320  331  342  386 

W.  D.  Houghton's  wire  broke  at  a 

strain  of 231  242  253  287  331  374 

Smith    &    Son's   wire   broke    at    a 

strain  of 221  242  242  287  320  331 

Washburn  &  Moen  's  wire  broke  at 

strain  of 176   ...   198   ...   242   .. . 


126  PIANOS  AXl)  TllKlK  MAKKKS 

The  records  of  the  World's  Fair  at  (  liieago,  1893,  show  the 
followiiii;-  r('|Mnt  of  tlic  test  of  Poehhiiann's  wire  made  by  Judges 
Max  Srlii('(liiia>c'r  of  Sluttgarl  and  George  Steck  of  New  York: 

No.   l.'I    Measuring    .(>.')( )  of  an  int-li  broke  at  a  strain  of  325  lbs. 

..        -j^  *.  jj..^    ii      a       a  u  a    u  u        ii      335    u 

"     13  ''  .034  "    ''     ''         "       *'   "       "      "    350  '' 

u     26  "  .035  "    ''     "         ''       ''   ''       "      "    400  " 

flow  successful  i*ocliiniann  has  been  in  improving  his  i)roduct 
is  best  illustrated  by  the  folh)wing  table  of  tests,  which  shows  the 
tensile  strength  at  breaking  point: 

Expositions —  Wire  No.  13  14  15  16  17 

Paris,  1867   226  264  292  312  348 

y\vum\,    1873    232  261  291  300  336 

Philadelphia,  1876 265  287  320  331  342 

Chicago,  lSi)3 325  335  350  400  415 

Since  1893  no  authoritative  tests  are  on  record,  ])ut  considering 
the  severe  tension  to  which  the  present-day  })iano  maker  exposes 
the  wire,  and  as  all  the  diiferent  brands  of  wire  are  used  more  or 
less,  it  will  be  admitted  that  Poehlmann's  efforts  lifted  the  entire 
piano  wire  industry  to  its  present  high  level,  to  the  benefit  of  the 
piano  trade. 

Development  of  the  Piano  Action  ln(h(stnj 

The  very  first  auxiliary  industry  of  the  x>iano  trade  was  un- 
doubtedly piano  action  making.  Among  the  oldest  firms  in  exist- 
ence at  this  date,  we  find  first  Brooks  of  London,  who  started  his 
business  in  l^jo.  L.  Isermann  of  Hamburg,  (now  merged  with 
Langer  &  Comi)any,  of  Berlin),  began  business  in  1842.  Tn  the 
same  year  came  Charles  Gehrling  of  Paris,  who  was  followed  by 


PIANO  ACTIONS,  PLATES,  PINS 


127 


Scliwander,  in  1844.  Morgenstern  &  Kotrade  of  Leipsic  started  in 
1846,  Lexow  of  Berlin  in  1854,  and  Fritz  &  Meyer,  as  well  as  Keller 
of  Stuttgart,  commenced  business  in  1857. 

In  America  F.  W.  Frickinger,  a  German  who  had  learned  the  art 
at  Paris,  started  an  action  factory  at  Albany,  N.  Y.,  in  1837,  mov- 
ing later  on  to  Nassau,  N.  Y.  His  son-in-law,  Grubb,  succeeded  him 
and  the  business  is  now  carried  on  under  the  firm  name  of  Grubb  & 
Kosegarten  Brothers. 

George  W.  Seaverns  established  his  action  factory  at  Cam- 
bridgeport,  Mass.,  in  1851. 

In  no  department  of  piano  manufacturing  has  the  use  of  auto- 
matic machinery  been  so  largely  applied,  to  improve  the  product 
and  lessen  the  cost,  as  in 
the  making  of  piano  ac- 
tions. In  all  well  equipped 
action  factories  automatic 
machines  are  employed  to 
fraise,  mold,  bore,  also 
bush  with  cloth,  or  trim 
with  leather,  the  various 
parts  of  the  piano  action. 
All  of  these  machines 
work  with  positive  pre- 
cision. Some  machines,  as, 
for  instance,  the  hammer 
butt  milling  machines,  are 
marvels  of  human  ingenu- 
ity. This  machine  takes 
the  wooden  block,  molded 
to  the  proper  form,  and 
by  entirely  automatic  mo- 
tions turns  out  a  perfectly  George  W.  Seavems 


128  PIANOS  AND  TllElK  AlAKKliS 

lini.-litMl  butt.  This  {'coiiDinic  \v;i\  of  ])ro(luciiig  actions  has  been 
made  ])()s>il)l('  hccaiix'  (»!'  the  Tad  that  nearly  all  of  the  American 
])iaii()  makers  use  tlu'  same  model,  tlie  only  matei'iai  dit'l'erence 
Ix'iiii;-  in  the  len,i;tlis  of  the  ])ilots  oi'  tanii'ents  whieli  connect  the 
action  with  the  kev. 

/row  Plates,  Pins,  Etc. 

The  casting,  l.tronzing  and  pinning  of  the  iion  frames  have  kept 
]iace  in  every  way  with  the  advancement  oi"  tlie  ])iano.  America, 
in  particulai'.  has  for  yeai's  produced  the  very  best  of  castings, 
solid  in  grain,  smooth  in  finish.  The  example  set  by  Steinway  & 
Sons,  in  their  foundries  at  Steinway,  Long  Ishuid,  had  a  beneficial 
influence  on  all  })late  makers,  whose  customers  demanded  plates 
^'  as  good  as  Steinway 's." 

The  progress  in  the  science  of  metallurgy  has  aided  the  plate 
makers  in  obtaining  the  best  blending  of  various  ores,  and  l)reaking 
or  cracking  of  plates  is  a  trouble  of  the  past. 

Even  in  this  industry,  automatic  machinery  begins  to  lessen  tlie 
cost  of  production.  The  other  metal  ])arts  in  the  piano,  brass  and 
nickel  tubes  for  action  rails,  brass  butts  and  fhmge  rails,  are  manu- 
factured by  specialists.  The  making  of  wrest  oi'  tuning  pins 
is  an  industry  which  for  over  (50  years  has  l)een  mono])olized  by 
a  limited  number  of  manufacturers  in  Westi)halia.  They  have  so 
far  managed  to  retaiii  this  niono])oly  by  making  excellent  ])ins  at 
a  price  so  low  as  not  to  invite  comi)etition. 

Very  good  tuning  |)ins  are  now  made  in  a  factory  near  New 
York.  Time  will  tell  whether  this  enterprise  can  hold  out  against 
the  low  wages  of  Westphalia,  ])ecause  years  ago  the  AVestphalian 
mamifarturors  adoj.ted  the  use  of  automatic  machinery,  which 
turns  ])lain  wire  into  a  finished  tuning  jiin,  similar  to  the  process 
of  making  screws. 

Of  other  materials,  such  as  glue,  varnish,  etc.,  nothing  need 
be  said.    They  are  products  used  long  before  pianos  were  made. 


PART  ONE 


CHAPTER  V 

Development  of  the  Player  Piano^  Morse,  Vaucanson,  Seytre, 
Bain,  Pape,  Fourneaux,  McTammany,  Gaily,  Bishop  &  Downe, 
Kuster,  Pain,  Parker,  White,  Brown,  Votey,  Goolman,  Ho- 
bart,  Clark,  Kelly,  Klugh,  Welin,  Hupfeld,  Welte,  Young, 
Crooks,  Dickinson,  Danquard. 


PART    ONE 

CHAPTER  V 

Development  of  the  Player  Piano 

A  LL  useful  inventions  are  the  product  of  evolution — the  result 

/-%     of  searching  thought  and  creative  ability.     An  idea  may 

be  born  in  one  man's  mind;  the  realization  and  utilization 

of  the  idea  require,  however,  the  co-operation  of  several  minds, 

one  improving  upon  the  labors  of  the  other. 

The  player  piano  is  still  in  its  development,  and  many  bright 
minds  are  devoted  to  the  improvement  of  the  instrument  as  we 
know  it  at  present.  Destined  eventually  to  displace  the  piano  as 
the  musical  instrument  of  the  home,  adequate  financial  reward 
beckons  to  the  inventive  genius  who  can  accomplish  the  extraor- 
dinary. Aside  from  the  financial  aspect,  the  player  problem  has 
some  of  that  alluring  attractiveness  which  tempts  the  ambitious 
inventor  to  make  his  bid  for  fame,  or  at  least  to  try  to  satisfy 
his  own  desire  for  the  accomplishment  of  the  ideal. 

The  history  of  the  player  piano  is  in  the  making.  While  the 
fundamental  idea  is  perhaps  two  hundred  years  old,  the  real 
development  and  practical  application  dates  back  only  to  the  early 
seventies  of  the  past  century,  and  the  most  important  improve- 
ments, those  which  made  the  player  piano  a  commercial  possibility, 
have  been  developed  during  the  past  twenty-five  years.  Indeed, 
we  can  look  for  ultimate  perfection  only  from  now  on. 

It  would  be  presumptuous  to  pass  judgment  or  dispense  honors 
for  what  has  been  achieved  so  far.  Many  an  ingenious  device  of 
practical  value  to-day  may  prove  to  be  only  a  stepping-stone  for 

131 


132  PIANOS  AND  TIIEIK  ^FAKEKS 

greater  achievements  to-inonow,  mid  tlnis  soon  ])eeome  obsolete. 
The  author  lias  to  conliiie  liiiiiscir.  1  lici-et'ore,  to  a  (lociiiiientary 
description  ot"  what  a])i)ear  to  be  the  most  iiiiporlaul  iiixciitions 
of  till'  (U'Nclopiiu'iit  of  the  jilayci'  j)ian().  in  thcii'  chronological 
order,  without  attcinptiiii*'  to  discuss  tiicii-  merits  or  demerits, 
excei)tin«»-  those  upon  which  final  judgment  has  been  passed  by  that 
infallible  tribunal,  thi'  purchasing  public. 

iiuiuii'iii.u'  into  the  origin  of  tiie  pUiyur  i)iano  mechanism,  we 
find  that  the  idea  of  a]i]ilying  automatic  attachments  to  keyed 
instruments  engaged  many  of  the  harpsichord  and  i)ianoforte 
buiklers  of  the  ITtli  and  18th  centuries, as  illustrated  by  their  efforts 
to  augment  the  scope  of  their  instruments  with  orchestral  effects, 
set  in  motion  by  pedals,  swells,  etc.  A})])arently  the  first  successful 
attempt  to  ])lay  an  instrument  with  a  keyboard  by  a  mechanical 
device  was  made  in  1731  by  Justinian  Morse  of  England.  He 
obtained  a  patent,  in  which  he  describes  his  invention  as  follows: 

''  A  new  organ  with  either  diai)ason  or  the  i)rincipal  in  front 
with  one  or  more  sets  of  keys,  the  bellows  to  go  with  either  the 
feet  or  the  hands,  by  which  any  person,  though  unskilled  in  musick, 
may  be  taught  in  an  honi-'s  time  to  i)lay  with  great  exactness  and 
with  their  proper  graces,  either  single  or  doubk^  with  preludes 
and  interludes,  all  i»salm  tunes,  fuges,  volunteries,  and  anthems 
tliat  are  usually  sung  in  churches  or  chapiiells,  or  any  other  musick 
tho'  never  so  difficult,  or  what  length  or  compass  soever,  and  that 
by  this  invention  a  fuller,  thorough  bass  may  be  pla'd  than  can 
possibly  be  performed  by  the  hands  or  fingers  alone  on  the  com- 
mon kevs;  and  this  is  performed  entirelv  without  vowls  or  barrels, 
and  in  a  third  part  of  the  room,  the  musick  bcung  ))rickt  on  both 
sides  of  leaves  or  half-inch  wainscot,  eight  or  ten  psalm  tunes  being 
contained  on  a  board  about  the  size  of  a  large  sheet  of  paper  and 
may  be  worked  by  clockwork,  jack  or  winch,  and  is  made  after  a 
new  method  to  i)lay  louder  or  softer  by  a  division  on  the  sound 
board;  and  that  this  organ  may  be  made  for  a  much  lower  price 


THE  PLAYER  PIANO  133 

than  all  others  heretofore,  and  therefore  will  be  very  proper  to 
be  made  use  of  in  churches  or  chappells  in  small  parishes  that  are 
unable  or  unwilling  to  be  at  the  expense  of  the  constant  attendance 
of  an  organist,  or  in  gentlemen's  houses  or  in  private  familys." 

It  is  to  be  regretted  that  no  instrument  answering  the  above 
description  seems  to  be  in  existence,  but,  considering  the  severity 
of  the  patent  laws  of  those  days,  it  can  hardly  be  doubted  but  that 
Morse  constructed  at  least  a  working  model  according  to  his 
specification. 

About  1740-50  Vaucanson,  the  celebrated  automaton  maker  of 
Paris,  reversed  the  construction  of  the  cylinder  used  in  automatic 
musical  instruments  of  his  time.  Instead  of  projecting  pegs,  Vau- 
canson constructed  a  pierced  cylinder  for  weaving  flowered  silks. 
This  cylinder,  according  to  the  holes  it  presented  when  revolved, 
regulated  the  movement  of  needles,  causing  the  warp  to  deviate 
in  such  a  manner  as  to  produce  a  given  design  indicated  by  the 
holes  in  the  cylinder.  It  is  said  that  Vaucanson  used  this  pierced 
cylinder  also  in  musical  instruments. 

Jaccpiard,  of  silk-loom  fame,  seized  upon  Vaucanson 's  idea,  and 
in  1802  added  an  endless  piece  of  cardboard  to  the  cylinder,  i3er- 
forated  with  holes  in  accordance  with  the  pattern  intended  to  be 
woven.  The  perforated  cardboard  pattern  of  the  Jacquard  loom 
is  in  principle  identical  with  the  perforated  music  rolls  of  the 
present  day. 

Seytre  of  France  patented,  in  1842,  a  musical  instrument  to 
which  he  applied  Jacquard 's  perforated  cardboard.  Bain  of  Scot- 
land patented  a  similar  device  in  1847,  and  that  great  piano  maker, 
Henri  Pape  of  Paris,  tried  his  hand  on  the  same  thing  in  1851. 
No  instruments  of  these  inventors  are  in  existence,  and  it  seems 
that  neither  invention  had  any  practical  or  commercial  value. 
They  are  mentioned  here  only  as  the  next  step  in  advance  from 
the  stiff  perforated  board  to  the  flexible  cardboard. 

In  1863  Fourneaux  df  Paris  patented  his  pianista,  a  device 


134 


PIANOS  AND  THEIR  MAKERS 


Fournoaux's  riaiiista 


whicli  through  pnenmatios  pressed  "  fingers  "  upon  the  piano  keys 
as  indicated  by  the  perforated  cardboards.  This  mechanism  was 
exhibited  at  tlie  PhiUidelphia  Exposition  in  1870,  and  quite  a  num- 
ber of  these  machines  have  been  sold.  The  machine,  set  in  motion 
by  a  crank  movement,  could  be  attached  to  any  piano,  the  fingers 
being  placed  over  the  piano  keyboard,  as  in  the  later  cabinet  i)layer. 
For  unknown  reasons  this  invention  was  not  further  developed, 
and  became  obsolete  because  of  its  limited  possibilities  and  high 
cost. 

About  18G8  John  ]\rcTammany  constructed  a  mechanism  for 
automatic  playing  of  organs,  sulistituting  for  the  crank  and  per- 
forated cardboard  of  Fourneaux  a  foot-])edal  action  and  narrow 
sheets  of  perforated  flexible  paper  with  winding  and  rewinding 


THE  PLAYER  PIANO 


135 


'((^//////////////^///^//////^/■'^^/■'^^///////'tttt; 


V//////////////.V//'///////////////////////// 


r 


I 


lY'^^^^^^^^m^m 


I 


t 


^i 


I 


Fourneaux's  Pianista 


rolls.  For  this  invention  McTammany  filed  on  September  7,  1876, 
a  caveat  with  the  following  description:  "  The  invention  relates 
to  an  improved  attachment  to  organs,  so  that  any  piece  of  music 
may  be  played  in  an  automatic  manner,  in  any  key,  on. the  same, 
and  the  invention  consists  of  a  mechanism  worked  by  a  fan  from 
the  bellows  and  by  a  strip  of  paper  perforated  to  express  musical 
notes,  and  it  consists  also  of  a  transposing  mechanism  to  play 
music  in  any  desired  key."  The  above  language  shows  that  the 
patent  attorneys  of  those  days  were  in  the  kindergarten  class  of 
player  piano  patent  lingo  as  we  read  it  to-day. 

In  McTammany 's  invention  the  action  was  inside  the  organ 
case,  instead  of  being  attached  from  the  outside,  as  in  Fourneaux's 
pianista.    While  broadly  speaking  the  action  was  pnemnatic,  yet 


]-.](] 


PIANOS  AND  TIIKIR  MAKERS 


il  (lid  not  have  iiidividnal 
jtiK 'lunatics  for  each  tone. 
'i'lic  next  important 
step  ill  the  (Icvclopnu'iit  of 
llic  p!a_\('i-  iiicclianism  was 
Alerritt  daily's  device, 
patented  in  ISSl.  Tt  cre- 
ated a  sensation  at  the 
time,  ])nt  lias  never  been 
connnercially  exploited. 

Bisho])  &  Downe  of 
England  were  granted  a 
patent  i'ur  a  keyboard  at- 
tachment for  nmsical  in- 
struments in  ISSo,  Per- 
lia})s  for  the  reason  that 
the  mechanism  bad  to  l)e 
set  iji  motion  Ijy  turning 
a  ci'ank,  precluding  any 
exercise  of  iiidi\-i(biality,  tliis  invention  did  not  succeed  com- 
mercially. 

in  ISSG  G.  B.  Kelly  invented  a  wind  motor  with  slide  valves 
opening  and  closing  ports  to  j)neumatic  motors.  This  form  of 
motor  was  at  once  ado])ted,  and.  u]>o7i  the  ex]uration  of  the  ])atent, 
came  into  general  use  in  all  the  factories  in  tlie  world. 

On  May  14,  ISSfi,  Charles  A.  Kuster  filed  his  ai>plication  for 
a  i)atent  on  a  mechanical  instrument,  which  was  granted  on  April 
19,  1887.  Ivuster's  construction  dilTered  entirely  from  Bishop 
&  Downe 's,  as  well  as  from  Gally's.  It  seems,  however,  that 
Kustei-  did  not  know  bow  t(j  make  his  invention  i)0])ular  and  to 
secure  for  it  proper  recognition. 

R.  W.  Pain  is  ]»erliaps  the  first  who  constructed  a  pneumatic 
se]f-])layiiig  piano.     In  conjunction  with  Henry  Kuster  he  built 


THE  PLAYER  PIANO 


137 


Ezzznz: 


□□□□Q 


^^'i-ii'L^Ov^ 


^^^^^ 


John  McTammany's  Automatic  Playing  Organ,   1868 


STicli  an  instrument  for  Needham  &  Sons  in  1880,  having  a  compass 
of  39  notes.  In  1882  he  constructed  for  the  Mechanical  Orguinette 
Co.  (which  later  on  became  the  Aeolian  Co.)  an  inside  player  with 
46  notes,  and  in  1888  he  produced  his  65-note  electric  player. 

On  October  16,  1891,  Wm.  D.  Parker  of  Meriden,  Conn.,  in 
the  employ  of  the  Wilcox  &  White  Company,  made  application 
for  a  patent  on  an  automatic  piano.  The  patent  was  granted 
March  8,  1892,  for  a  combination  piano  adapted  for  either  manual 


138 


PIANOS  AND  THEIR  :\rAKERS 


Merritt  Gally's  Player  Mechanism,  1881 


or  antomntio  o])oratioii,  liavin,i>-  a  system  of  pneumatic  operating 
mechanism  controlled  by  a  perforated  music  sheet. 

Snitahk'  wind-indncing  apparatus  or  motor,  and  such  mech- 
anism, ]iermanently  introduced  into  the  structure  of  the  instru- 
ment, ojierating  v\[Hjn  tlie  rear  ends  of  the  manual  keys,  not 
intci-ferinu'  or  ])reventing  use  of  the  piano  for  ordinary  manual 
operation.  Tliis  interior  ]ilayer  mechanism  was  manufactured  by 
the  AVilcox  &  White  Company  of  Meriden,  and  sold  under  the 
name  of  Angelus  Piano  Player  to  i)iano  dealers  in  Boston,  Phila- 


THE  PLAYER  PIANO 


139 


■J? 


yr^::^^ 


u.r: 


Bishop  &  Do\ATie's  Keyboard  Attachment,  1883 


George  B.  Kelly's  Wind  Motor  with  Slide  Valves,  1886 


140 


PIAXOiS  AND  THEIR  :\JAKEKS 


;  '^ww.wm 


CO 
GO 


'S 


0^ 


/^ 

;=! — ^ 

A 

I 


Ui 


THE  PLAYER  PIANO 


141 


fp^v...... 


00 


o 

c 

s 

V 

ei 

B 
o 


(D 


^^^ 


142 


PIANOS  AXD  THEIR  MAKERS 


00 


o 


3 
< 


n 


THE  PLAYER  PIANO 


143 


»3iitrrr3i3jjjjyjfjjj})ff>rf>j>t'}jfiff>tiirf>>}  r-T-r 


/,  f//,xUJJJ  ff/^i^^  i^i,>/y>A^ 


fa 


o 

CO 


bo 


-a 


o 


bp 

U 

c 
_o 

a 

o 

jn 

Ol 

cS 
PW 


144 


PIANOS  AND  THETK  :\rAKERS 


!r 

\ 

^ 

■T^ 

1 

White  and  Parker's  Combination  Upright  Piano  and  Reed  Organ,  1895.      (Fig.  3) 


<lel])liia,  etc.,  and  the  patent  was  assigned  to  and  controlled  by 
the  AVilcox  &  White  Company. 

On  November  29,  1895,  Edward  H.  White  and  Wm.  D.  Parker 
filed  application  for  a  ])atent,  which  was  granted  December  15, 
1890,  for  a  combination  of  the  automatic  ui)right  piano  and  reed 
organ.  This  ingenious  invention  did  not  prove  a  commercial  suc- 
cess, mainly  for  the  reason  that  the  steel  strings  of  the  piano  would 
not  remain  in  tune  witli  the  reeds  (which  would  remain  in  tune  for 
years),  and  naturally  on  that  account  would  not  always  blend  with 
the  tone  produced  in  combination  with  each  other. 

On  July  27,  1897,  Wm.  D.  Parker  obtained  patents  for  similar 
attachments  for  grand  and  square  pianos. 


THE  PLAYER  PIANO 


145 


White  and  Parker's  Automatic  Piano  Player  in  Cabinet  Form,  1897.      (Fig.  1) 


Not  meeting  with  the  success  anticipated  in  introducing  this 
interior  mechanism,  White  and  Parker  on  April  5,  1897,  filed  an 
application  for  a  patent  for  an  automatic  piano  player  in  cabinet 
form,  and  which  contained  reeds  and  could  be  operated  either  as 
an  automatic  reed  organ  or  as  a  keyboard  instrument  player.  The 
patent  was  granted  October  26,  1897.    This  cabinet  could  be  moved 


146 


PIAXOS  AND  THEIR  MAKEES 


:ti:r^::i:i: 


K>» 


□; 


i 


fllittillmmii 


:1    ■<. 


li 


yyyyy^yyyyyyyyuytl 


C'   <: 


IlMMMfl 


yyyyyyyyyyy^ 
n 
1 


Fig.  2 


r;,r;r„v-  r;V,>-,-,/,,r,,i-  /r^/r^^r'r'./^^f'/^/ 


c 


.  i:;.  I  r'T 


Fisr.  3 


White  and  Parker's  Cabinet  Piano  Player 


THE  PLAYER  PIANO 


147 


up  and  on  to  any  kind  of  a 
piano,  whereby  tlie  fingers 
of  the  mechanism  would 
stand  upon  the  tops  of  the 
keys  of  the  piano,  similar 
to  the  fingers  of  the  human 
hand.  The  general  con- 
struction being  practical 
and  durable,  the  instru- 
ment found  immediate 
favor  with  the  public. 

After  completing  a 
number  of  pianos  with  P. 
J.  Bailey's  electric  self- 
playing  device,  which  did 
not  prove  a  success,  Theo- 
dore P.  Brown  of  Worces- 
ter was  granted  patents 
for  an  interior  player 
mechanism  under  dates  of 
April  7,  June  15,  Decem- 
ber 7  and  14,  1897.  The 
pianos  containing  this 
mechanism  were  marketed 
under  the  name  of 
"  Aeriol  Pianos,"  and 
proved  a  commercial  suc- 
cess. In  1898  Brown  sold 
his  patents  to  the  Aeolian 
Company,  and  followed 
the  example  of  the  Wilcox 
&  White  Company  in  con- 
structing a  cabinet  player. 


Fiof.  4 


i  8 II 1 1, 


Kk. 


551 


as 


4 


\iij' 


w 


3 


Fig.  5 


Fig.  6 


Whitt'  and  Parker's  Cabinet  Piano  Player 


148 


PIANOS  AND  TIIEIK  MAKEKS 


^ 


i/iiiiiiiiiii 


TT 


vr 


^^^M...    ^v.,,,^rnv,^^2^^uv,.,.r.,^,^^^MV.uM>.>j^N^ 


rw 


"|Jl  Qaa  [^iDonaa"a"Dnnn£nnoQnn  nnn  n^nnn  □  [h 


.<'-■.  \\  ^  \  ^  V  V  ■v  ^  v  ^'v  V  \ — ^■■^^<\\\'■■A^  ^  ^v^^^^'^^^'.^^ 


M 


\rs'ssrrri 


Figs.  8-12 
Whito  and  Parker's  Cabinet  Piano  Player 


THE  PLAYER  PIANO 


149 


-* 
« 


u 
O 


I- 

GQ 


feO 


150 


PIANOS  AND  THEIR  MAKERS 


Theodore  P.  Brown's  Interior  I'laver,  1S97 


Iviiown  to  the  trade  as  the  ''  Simplex."  These  cabinet  players, 
uuw  almost  obsolete,  curiously  enough  seemed  to  be  preferred  by 
the  public  to  the  i)layer  i)iano.  The  fear  of  the  ])iano  manufac- 
turers to  add  the  player  action  to  the  complicated  upright  piano 
action,  may,  to  a  large  extent,  have  been  responsible  for  the  tempo- 
rary popularity  of  the  unsigiitly  and  unhandy  cabinet  player.  This 
pupuhuity  was  hirgely  increased  wiicn  Edwin  S.  \^otcy's  pneu- 
matic ])ian()  attachment  was  ]^u\  u]ion  the  market  under  the  name 
of  "  Pianola,"  and  piislicd  by  a  most  aggressive  advertising  cam- 
paign on  the  part  of  the  manufacturers,  the  Aeolian  Company  of 
New  York.  Votey  filed  his  ap])lication  on  January  25,  1897,  and 
a  patent  was  issued  to  him  un  May  '2'2,  I'JUU. 


THE  PLAYER  PIANO 


151 


n  n,  r}-n'r\j;::if\;fzjXD''r\~r\  n  1*^ ) 


m>mmi^^: 


Figs.  1  and  2 


Figs.  3-5 
Melville  Clark's  Transposing  Device,  1899 


152 


PIANOS  AXI^  TTIETR  MAKERS 


S^M. 


-cri 


t 


hi 


Figs.   1-4 
Melville  Clark's  Transposing  Device,  1902 


Comparing  tlie  drawings  of  tlie  Wliite-Parker  and  Votey 
patents,  it  is  ol)vions  at  first  glance  that  the  three  inventors 
worked,  although  at  the  same  time,  on  entirely  different  lines  to 
accom])lish  their  object. 

From  1898  to  1900  many  patents,  too  numerous  to  mention, 
were  granted  for  imi)rovements  in  phiyer  mechanism.  Among 
them  arc  ^rdvillc  (Mark's  transposing  device,  patented  on  May 
30,  1899,  and  September  30,  1902,  which  has  been  adopted  by  many 
manufacturers  of  ])layer  pianos. 

Ill  1898  F.  Engelhardt  &  Sons  commenced  to  make  their 
"  Ilaiinouist  "  ])layer,  having  accpiired  the  patents  granted  to 
F.  K.  Ooolman,  on  February  1  and  Ai)ril  26,  1898.  Their  ''  Peer- 
less Piano  Player,"  a  coin-operated  electric  ^meuinatic  instrument, 
was  also  placed  on  the  market  in  the  same  year.    This  firm  controls 


THE  PLAYER  PIANO 


153 


— et" 


-^ — ^ 


1  I  I  I   I  I   I   I  I  I  I  I  I   I  I  I  I  I  I   I  I   I  I  I  I  I   I  I   I  I   I  I  I   I  I  I   I  I   I  M  I  I  I   I  I  I  I   I  I   I  IT 


F.  R.  Goolman's  Harmonist  Player,  1898 


'»////y///y/„,//^A  /m.-^,v,  ',//,  ,//^/-/, . 


Paul  B.  Klugh's  Auxiliary  Key,  1906 


154 


PTAXOS;  AXI)  TIIFJIJ  AlAKERS 


Rmsssssw 


A.  J.  Ilobart's  Endless  Tune  Sheet,  1908 


the  patent  granted  to  A.  J.  Hobart,  on  July  7,  1908,  for  an  endless 
perforated  tune  sheet,  each  sheet  containing  five  or  more  selections. 

All  i^layer  actions  i)rior  to  1898  were  so  constructed  that  they 
played  only  Go  notes  of  the  88  of  the  ]iiano  scale.  This  necessi- 
tated tlic  rearrangement  (often  nmtilation)  of  modern  composi- 
tions written  for  88  notes. 

Melville  Claik  inti'oduced  in  1901  his  "  A])ollo  "  i)layer  with  an 
88-note  tracker  board,  an  innovation  which  has  been  adopted  by 
most  player  manufacturers  for  the  good  of  the  instrument. 

Thomas  l)an(iuard  obtained  a  patent,  on  August  2,  1904,  for 
a  device  called  the  flexible  finger,  by  means  of  which  the  wippen 
of  the  piano  action  is  attacked  direct,  eliminating  thereby  the 


THE  PLAYER  PIANO 


155 


harshness  of  contact  and  imparting 
elasticity  without  interfering  with  the 
function  of  the  piano  action. 

To  overcome  the  objectionable 
stiffness  of  the  interior  player  action, 
Melville  Clark  patented  on  August  1, 
1905,  and  in  March,  1907,  a  construc- 
tion by  which  the  stroke  button  is 
placed  in  front  of  the  fulcrum  of  the 
piano  key.  Paul  B.  Klugli  obtained  on 
October  9,  1906,  a  patent  for  an  aux- 
iliary key,  with  the  same  object  in 
view. 

Peter  Welin  was  granted  a  number 
of  patents  on  applications  beginning 
May  1,  1902,  for  interior  player 
mechanism,  in  which  every  pneumatic 
can  be  independently  removed  or  ad- 
justed. This  mechanism  is  used  by  the  Auto  Grand  Piano  Com- 
pany, which  acquired  the  Welin  patents ;  also  by  Broadwood  &  Sons 
of  London,  under  protection  of  English  patents  granted  to  Welin. 

In  Germany,  about  the  year  1887,  Paul  Ehrlich  patented  his 
"  Ariston  "  mechanism,  which  played  36  notes.  This  was  soon 
improved  by  Ludwig  Hupfeld  by  a  device  controlling  61  notes. 
The  mechanism  could  be  inserted  into  an  upright  piano  and  set 
in  motion  by  a  crank  movement  or  electric  motor.  In  1889  Hup- 
feld created  a  new  type  of  player  with  76  notes.  None  of  these 
mechanisms  had  pneumatics.  The  ''  Phonola,"  placed  on  the 
market  in  1902,  containing  pneumatics,  had  originally  a  compass 
of  72  notes,  but  it  has  now  been  changed  to  88  notes. 

For  the  better  control  of  piano  or  forte  playing  independently 
in  bass  or  treble,  the  power-producing  bellows  of  the  Phonola  is 
divided  into  two  sections,  as  shown  in  illustration. 


Thomas  Danquard's  Flexible 
Finger  Mechanism,  1904 


15G 


PIANOS  AND  THEIR  MAKERS 


IS^"^ 


2r-« 


■   ,     IB.I  ,;    ;.  ;  ,     .  .......  .     .  .::::»  t'.-"Tv; 


o 

C5 


fe 


o 


a 
o 


3 

o 


a; 


o 

C5 


60 


THE  PLAYER  PIANO 


157 


Peter  Weliii's  Individual   Naive  System,   1902 


Through  an  ingenious  connection  of  a  special  pneumatic  with 
the  hammer  rail,  the  Phonola  mechanism  gives  the  performer  an 
opportunity  for  most  delicate  shading  in  pianissimo  playing,  by 
simply  exercising  more  or  less  pressure  upon  the  pedals. 

The  latest  product  of  the  Hupfeld  factories  is  called  the  "  Dea," 
a  self-playing  device  which  reproduces  the  playing  of  virtuosos 
through  an  arrangement  of  the  music  rolls. 

The  Dea  and  the  "  AVelte  Mignon  "  may  justly  be  called  the  ne 
plus  ultra  of  player  development  for  purely  mechanical  expression, 
because  they  reproduce  the  individual  interpretations  of  the  most 
renowned  pianists  with  all  the  accentuation  and  expression  in  its 
finest,  most  subtle  nuances.  These  artistic  players  will  ever  be  a 
most  valuable  assistant  to  the  piano  teacher,  aiding  him  in  instruct- 
ing his  pupils  as  to  how  great  artists  interpret  the  compositions  of 
the  masters.    They  are  furthermore  of  inestimable  value  in  record- 


1j8 


PIANOS  AND  THEIR  ^FAKERS 


Fig.  1 
Ludwig  Hupfeld's  Phoiiola  Tlayor,  1902 


ing-  for  posterity  the  wonderful  playing  of  a  Joseffy,  Rosenthal,  De 
Pacliiiiaii,  Busoni  and  other  virtuosos. 

However,  the  iinisic-loving  amateur  re(|uires  tiie  pleasure  of  his 
owji  iiiterpretalioii,  the  only  i-eal  ])leasure  anyone  ran  get  out  of  a 
piano.  AVe  have  at  present  the  "  ^Metrostyle,"  invented  by  P.  L. 
Young  in  1901,  enabling  the  amateur  to  follow  the  intention  of  the 
eomposer  as  to  tiie  pro})er  metronomic  rendering  of  his  com- 
position: the  ''  Themodist,"  invented  by  J.  W.  Crooks  in  1900; 
the  ''  Phrasing  Lever,"  patented  in  190.",  by  Haywood;  the  "  Tem- 
ponome,"  iiixcntcd  by  Danquard  and  Keeley  in  1911;  the  *'  Arti- 
style  "  markings  for  the  music  rolls,  indicating  both  tempo  and 


THE  PLAYER  PIANO 


159 


Hupfeld"s  Phonola  Player. 


Fig. 


Figs.  3  and  4 
Hupfeld's  Phonola  Player,  Showing  Divided  Bellows  for  Bass  and  Treble  Section 


160  PIANOS  AXD  TITFJK  :\rAKERS 

volnmo  of  tono.  iiivoiitod  by  i\  K.  A'nn  Yorx ;  besides  tbo  many  in- 
geirK)ii>  iiiiinovemeiits  of  ICelly,  Dickinson  and  other  inventors, 
whose  fertile  l)iains  are  continually  enga^'ed  in  making  player- 
piano  history  by  inijiroving  and  sinii)lifying  the  mechanism  of  to- 
day. 

As  time  i)asses  on,  the  beauty  and  scope  of  the  player  piano 
will  be  ai)preciated  in  tlie  same  ratio  as  people  learn  to  perform 
upon  it  i)roi)erly.  Teachers  must  l)e  trained  to  give  instructions 
on  the  i)layer  piano  just  as  manual  piano  playing  is  taught  at 
present.  It  not  only  requires  ]U'actiee.  but  earnest  and  intelligent 
study  to  learn  the  use  of  the  expression  and  accentuating  devices, 
and  more  especially  to  master  the  pedaling,  because,  after  all,  the 
secret  of  proper  shading  and  ])hrasing  in  rendering  a  composition 
depends  mainly  upon  the  artistic  use  of  the  })edals.  The  "  touch," 
this  all-controlling  factor  in  producing  the  various  shades  of  tone 
on  the  piano,  is  controlled  by  the  pedals  almost  entirely. 

The  player  piano  is  the  nuisical  instrument  foi-  the  home  of 
the  future,  barring  all  others,  and  the  growth  of  the  })layer  in- 
dustry depends  entirely  upon  the  activity  and  enteri)rise  of  the 
plaver  manufacturers.  The  instrument  is  as  vet  in  its  infancv. 
Eventually  a  player  piano  will  be  evolved  with  an  action  which 
will  ))e  capable  of  ])roducing  the  long-sought-for  effects  of  tone 
sustaining,  losing  its  mechanical  chaiacter  entirely,  and  thus  be- 
coming the  superior  of  the  present-day  ])iano,  as  that  instrument 
has  superseded  the  clavichord.  Why  should  not  the  player  piano 
finally  be  so  constructed  as  to  produce  the  powerful  piano  tone 
blended  with  the  soulful  tone  of  the  clavichord? 

The  possibilities  of  improving  the  player  action  together  with 
the  piano  action  can  hardly  be  estimated.  Sufficient  has  been  done 
to  show  that  the  player  piano  of  the  future  will  be  a  musical 
instrument  par  excellence. 


THE  PLAYER  PIANO 


161 


o 
o 
o 


'3 
o 

g 


o 
o 

O 


o 

C5 


"^^ 

CO 
O 

!h 
-M 

'bo 

C3 

3 
o 


i(;2 


PIANOS  AX  I)  THEIK  MAKERS 


^\v\\\\v\\\vv\\\\\\\\^^^^^^ 


^ 


I 


Keeley-Danquard  Temponoinr,   I'Jll 


PART  TWO 

Commercial  Development  of  the  Piano  Industry 

CHAPTER  I 

Italy,  Cliristofori,  Fischer,  Sievers,  Roseler,  Mola. 

Germany,  Silbermann,  Stein,  Nannette  Stein,  Streiclier,  Scliied- 
mayer,  Ibacli,  Eitmiiller,  Rosenkrantz,  Irmler,  Breitkopf  & 
Hartel,  Bliitlmer. 

France,  Erard,  Pleyel,  Herz,  Gaveaii,  Bord. 

England,  Tscliudi,  Broadwood,  Kirkman,  Zumpe,  Collard,  Brins- 
mead,  Hopkinson, 

America,  Chickering,  MacKay,  Nunns  &  Clark,  Gilbert,  Steinway. 


PART    TWO 

CHAPTER  I 

History  of  the  Commercyil  Development  of  the  Piano  Industry 

IT  is  difficult  to  make  a  piano,  but  mneli  more  difficult  to  sell 
it.  The  craft  of  piano  making  did  not  evolve  into  an  industry 
until  the  commercial  genius  joined  hands  with  the  craftsman. 
It  requires  the  lofty  genius  of  an  artist  and  the  methodical  genius 
of  the  mechanician  to  design  and  build  a  piano,  but  mercantile 
genius  of  the  highest  order  is  necessary  to  market  this  art  product 
in  such  a  manner  as  to  assure  for  it  its  proper  position  in  the 
marts  of  the  world. 

To  achieve  lasting  success  in  the  piano  industry  of  to-day, 
a  combination  of  artistic  and  commercial  ability  of  the  highest 
order  has  become  a  positive  necessity.  The  piano,  not  a  necessity, 
but  a  vehicle  for  expression  of  one  of  the  high  arts,  appeals  only 
to  people  of  culture  and  refinement.  Consequently  the  piano  in- 
dustry can  thrive  only  in  countries  where  wealth  is  accumulating. 
It  will  prosper  in  proportion  as  a  country's  wealth  increases,  and 
decline  when  a  country's  resources  are  declining. 

In  its  early  struggles  for  existence,  the  piano  had  to  depend 
upon  the  protection  of  kings  and  princes.  Schroter  could  not 
build  his  piano  because  he  did  not  command  sufficient  influence  to 
obtain  financial  aid  from  his  king. 

165 


:[GG  PIANOS  AND  TIIEIK  ^lAKERS 


ITALY 

It  is  not  to  ho  v^o^^(^ovo(}  tlint  Ttnly  and  tlio  Xotlierlands  ])ro- 
diieod  those  beautirul,  artistic  spinets,  clavichords  and  liarpsi- 
chords,  enslirined  in  most  artistic  cases,  embellished  with  rich 
carvings,  or  like  the  clavichords  of  Hans  Knckers,  with  ]iaintings 
of  the  ,c;reat  FlcMnish  masters  of  those  days.  Both  the  Xetlicrlands 
and  Italy  were  then  at  the  zenith  of  their  commercial  supremacy, 
their  ships  l)rini;ing  riches  from  all  parts  of  the  globe.  This  great 
accnnnilation  of  wealth  brought  al)out  the  age  of  Kenaissance  in 
Italy.  The  enormously  rich  nobility  and  the  wealthy  burghers 
generously  supported  Michael  Angelo,  Ka})hael,  Da  Vinci  and  their 
contemi)oraries,  encouraging  the  creation  of  their  master  works 
bv  most  liberal  contributions  and  the  bestowal  of  honors. 

Together  with  architecture,  sculpture,  painting  and  literature, 
the  culture  of  music  was  revived,  and  we  find  at  the  end  of  the 
17th  century  Bartolomo  Christofori  comfortably  placed  as  musical- 
instrument  maker  to  the  Duke  of  Tuscany.  The  ever-open  purse 
of  the  Duke  permitted  Christofori  to  i)ursue  his  studies  and 
experiments  in  developing  the  pianoforte,  while  engaged  in  making 
spinets,  harpsichords,  lutes,  etc.,  for  the  courtiers  of  the  Duke. 
It  was  a  proud  moment  for  Christofoi'i  and  the  Duke  when  the 
latter  could  show  to  his  court  the  great  invention  of  Christofori. 
However,  as  the  ])roud  Italian  noblemen  of  that  ]ieriod  eschewed 
the  idea  of  connnercializing  the  creations  of  their  artists,  not 
maii>  pianofortes  were  built  by  Christofori.  Nor  were  the  condi- 
tions fa\orable  for  an  immediate  exi)loitation  of  the  invention. 
Italy's  trade  was  chiefly  with  the  Orient,  where  ])ianofortes  could 
not  be  sold.  The  larger  cities  of  Euroi)e  nearly  all  had  clavichord 
makers  of  their  own,  and  the  overland  transportation  of  so  large 
an  instrument  was  very  costly  and  slow. 


COMMERCIAL  DEVELOPMENT  167 

There  is  no  doubt,  however,  that  the  King  of  Saxony  came  into 
the  possession  of  a  Christofori  pianoforte  at  an  early  date,  which 
Silbermann  copied,  thus  making  any  further  sales  of  Christofori 
or  other  Italian  pianofortes  impossible  north  of  the  Alps.  We, 
therefore,  hear  very  little  of  piano  making  in  Italy  at  that  time, 
except  for  home  consumption. 

About  the  middle  of  the  19th  century  the  piano  industry  of 
Italy  took  a  new  start.  Fischer  of  Vienna  had  started  a  factory 
at  Naples,  followed  by  the  renowned  Sievers  of  St.  Petersburg,  and 
later  on  by  Roseler  of  Berlin,  who  established  himself  at  Turin. 
Roseler  was  so  successful  that  he  soon  found  many  followers,  so 
that  Turin  boasts  to-day  of  having  15  well-equipped  piano  fac- 
tories, of  which  the  establishment  of  Mola  is  the  largest,  producing 
about  4,000  pianos,  harmoniums  and  church  organs  per  annum. 
No  doubt  Italy  produces  more  barrel  and  pneumatic  street  pianos 
than  any  other  country,  but  these  noisy  instruments  are  only 
intended  to  amuse  children  on  the  public  highways  and  cannot  be 
classed  with  pianos. 


GERMAISTY 

Accepting  Gottfried  Silbermann  of  Freiberg  as  the  father  of 
the  piano  industry  of  Germany,  we  have  to  admit  that,  besides 
being  a  good  organ  builder  and  piano  maker,  he  also  was  a  very 
shrewd  business  man.  Not  only  had  he  the  good  sense  to  copy 
the  Christofori  piano  in  toto,  after  Johann  Sebastian  Bach  had 
condemned  Silbermann 's  own  creation  in  unmeasured  terms,  but 
he  finally  induced  old  Bach  to  indorse  his  Christofori  copy  and 
cleverly  managed  to  sell  to  Frederick  the  Great  seven  of  those 
instruments  at  the  extravagant  price  of  700  thalers  (about  $500) 
for  each  instrument.    Considering  the  purchasing  power  of  money 


168  riAXos  Axn  'riii:ii:  makkks 

nl  lliat  time,  it  i>  rca-oiiahk'  to  assuiiie  thai  Siibermaiin  received 
at  least  live  time-  llu'  aiiminit  of  the  actual  cost  of  t1ie  iTisti-nments. 

SaxoiiN  i-ciiiaiii('(l  for  a  huiu'  tiiiic  the  center  ut'  i)iaii()  making  in 
Geniiaii>,  and  fiom  the  slioi)s  of  vSilberniann  came  nearly  all  the 
pioneers  who  spread  the  industry  over  the  continent  of  Euroi)e 
HTid  Oreat  i'l-itaiii.  The  so-called  iL*  apostles  {\'2  (jiei-iuaii  ]>iaiio 
makers),  who  landed  in  London  about  17C)(),  were  nearly  all  Sil- 
bermann  pni>lls.  and  became  the  pioneers  of  the  English  i)iano 
industry.  Among  them  were  Zum])e,  Backers  (Becker),  Geil)  and 
others,  whose  names  later  on  appeared  in  the  London  city  directory 
as  ]>ianoforte  makers, 

Johann  Andreas  Stein,  undonbtedly  the  most  talented  of  Sil- 
bermann's  jjupils,  went  to  Augsburg  and  made  his  first  piano  in 
1768.  His  daughter  Nannette,  with  her  husband,  Johann  Andreas 
Stfcichci',  later  on  moved  to  A^ienna,  founding  the  "  Vienna 
school  "  of  piano  makers.  Balthasar  Schiedmayer  made  his  first 
]iiano  at  i'hiangen  in  1735.  Johann  David  Schiedmayer  continued 
the  business  at  Nuremberg,  and  his  son  Lorenz  moved  to  Stuttgart 
in  LSOl),  whei-e  he  became  the  founder  of  the  *'  Stuttgart  school." 
Next  we  hcai-  of  Johannes  Adolf  ibach,  who  started  near  Barmen 
in  17!'4.  Andreas  Georg  Eitmiiller  commenced  business  at 
Gottingen  in  1795,  and  Ernst  Kosenkrantz  at  Dresden  in  1797. 

From  that  period  on  piano  making  increased  rapidly  in  Ger- 
many, makers  locating  chiefly  in  the  residence  cities  of  the  many 
]n-incipa]ilies  of  those  days,  because  the  courts  of  the  potentates 
were  about  the  only  customers  a  piano  maker  could  then  look  for. 
Commercial  methods  were  entirely  unknown.  A  piano  maker 
would  build  his  piano  and  then  (juietly  await  a  customer.  To 
advertise  a  i)iano  for  sale  would  have  been  considered  an  unpar- 
donable sin  against  the  ethics  of  the  craft.  Tt  required  the  revo- 
lutionary nerve  of  the  ])athfinders  after  the  middle  of  the  19tli 
century   to   brush   away   that   prejudice.     Just   as    soon   as    the 


COMMEECIAL  DEVELOPMENT  169 

industry  began  to  develop  in  the  commercial  atmosphere  of  Leipsic, 
Berlin  and  Stuttgart,  the  piano  makers  of  Germany  commenced  to 
make  efforts  to  sell  their  products  outside  of  their  own  bailiwicks. 
Vienna  looked  askance  at  this  new  movement,  and  consequently  has 
hardly  held  its  own  in  the  onward  march  of  the  industry. 

Julius  Bliitlmer  of  Leipsic  made  good  use  of  the  opportunity 
which  that  great  school,  the  Conservatory  of  Music,  offered. 
Young  people  from  all  parts  of  the  globe  came  to  that  school  to  be 
instructed  by  Moscheles,  Plaidy,  Wenzel,  Reinecke  and  others, 
to  go  out  into  the  world  as  teachers  or  virtuosos.  They  studied 
on  Bliithner  pianos  during  their  sojourn  at  Leipsic,  and  sang  the 
praise  of  the  Bliithner  piano  wherever  they  went.  Nor  did 
Bliitlmer  ever  spare  printer's  ink  in  order  to  tell  the  world  what 
tine  pianos  he  was  building,  to  the  great  horror  of  the  old-school 
piano  makers.  He  sent  his  pianos  to  the  world's  expositions  and 
carried  otf  prize  medals  for  showing  something  new  or  better  than 
the  conventional. 

The  old  renowned  firms  of  Irmler,  Breitkopf  &  Hartel  of 
Leipsic  and  the  Dresden  and  Stuttgart  makers  looked  on  for  quite 
a  while,  satisfied  with  the  steady  home  trade  and  their  profitable 
export  trade  (mainly  to  North  America),  but,  when  their  export 
business  was  absorbed  by  the  American  makers  and  their  active 
German  competitors  invaded  their  home  territories,  they  quickly 
adopted  the  same  aggressive  policy,  keeping  pace  with  the  most 
advanced  ideas  and  business  tactics. 

This  persistent  propaganda  by  all  the  leading  firms  made  the 
piano  very  popular,  and  the  demand  increased  in  proportion.  The 
use  of  labor-saving  machinery  was  introduced  by  all  leading  firms. 
Establishments  for  the  manufacture  of  supplies  sprang  up 
at  all  piano-manufacturing  centers,  and  soon  the  piano  ''  com- 
piler "  appeared,  at  first  in  Berlin,  later  on  to  be  found  every- 
where. 


170  riAXUS  AXI)  TIIEIK  ^FAKETJS 

Exjiurt  iiiLTc-haiils  >a\v  tlir  pussil)ililies  of  using'  the  Gennaii 
tjiniio  for  siiccossfiil  coin)  icl  it  ion  nii-ninst  tlio  Eng'lisli  ina1<o  in 
Toreign  count  lio,  aiul  a  lively  exi)oi"t  trade  was  soou  estab- 
Jislied.  IMano  dealers  became  active  in  every  city,  town  and  hamlet. 
At  the  picx'ut  linic  ahuost  every  schoolteacher  in  the  villages  of 
(Jermany  is  the  agent  for  one  or  more  })iano  nudvcrs. 

The  ]>rn('tico  of  "  ])(^ddling  "  pianos — that  is,  to  load  a  piano 
on  to  a  wagon,  going  out  to  the  country  with  it,  looking  for  a  pos- 
sible customer — was  first  resorted  to  by  IJerlin  makers  of  low- 
]iriced  ])ianos  about  1866.  It  is  now  generally  practiced  in 
America. 

After  1873  Germany  started  \\]^on  a  wonderful  career  of  in- 
dustiial  revival.  That  far-seeing  statesman,  J^ismarck,  not  only 
inaugurated  the  beneficial  policy  of  protection  for  the  home  market, 
by  putting  duties  on  foreign-made  goods,  but  he  also  organized  a 
splendid  consular  service,  making  each  consul  a  servant  of  German 
commerce  and  industry.  Enrthermore,  lie  subsidized  the  merchant 
marine  and  cheapened  transi)ortation  on  land,  all  in  order  to 
enable  the  German  mannfacturer  to  gain  a  foreign  trade.  IIow 
effectually  the  German  piano  trade  has  made  use  of  these  advan- 
tages is  illustrated  by  the  fact  that  over  20,UU0  i>ianos  were  shipped 
from  Germany  to  England  alone  during  1909.  Considering  that 
up  to  1860  England  was  leading  the  world  in  the  i)roduction  of 
])ianos,  this  fact  speaks  volumes  for  the  enterprise  of  the  German 
piano  manufacturers  and  the  (|uality  of  their  i)roduct. 

German  pianos  to-day  dominate  all  foreign  markets,  excepting, 
of  course,  Noith  America,  not  on  account  of  low  prices,  but  mainly 
because  of  the  advanced  commercial  methods  followed  by  the 
German  manufactuici-  and  merchant,  who  is  ever  willing  to  accom- 
modate himself  to  the  demands  of  his  customers,  meeting  the 
buyer's  }>eculiar  taste  for  style  and  tone  of  the  piano  and  also 
his  methods  of  transacting  Inisiness. 


COMMERCIAL  DEVELOPMENT  171 

Germany  lias  to-day  about  300  piano  factories,  some  of  tliem  pro- 
ducing from  3,000  to  7,000  pianos  per  year.  The  total  output  of  all 
factories  is  estimated  at  about  170,000  pianos  annually.  Spain  has 
about  20  piano  factories.  The  firm  of  Ortiz  &  Cusso  of  Barcelona 
turn  out  1,000  pianos  annually.  The  total  production  of  Spain 
is  estimated  at  2,500  pianos  per  year,  of  which  a  considerable 
number  are  exported  to  South  America.  Scandinavia,  Belgium, 
Holland  and  Switzerland  are  no  factors  in  the  world's  piano  mar- 
kets. Good  pianos  are  made  at  Copenhagen,  Stockholm  and  Chris- 
tiania,  as  well  as  at  Brussels  and  The  Hague,  at  Zurich  and  Bern, 
mostly  for  home  consumption,  however.  Belgium  has  1()  piano 
factories;  Switzerland,  12;  Holland,  6;  Scandinavia,  40;  mostly 
small  shops  with  a  production  of  from  50  to  100  pianos  per  year. 
The  total  annual  production  of  these  countries  probably  does  not 
exceed  from  6,000  to  8,000  pianos. 

FRANCE 

Although  Paris  (which  means  France)  was,  up  to  1851,  far  in 
the  lead  of  Germany,  it  appears  to  be  retrogressing,  because  of 
its  overproud  conservatism.  It  seems  difficult  for  the  leading  Paris 
makers  to  realize  that  Germany  and  America  are  producing  pianos 
far  better  adapted  to  the  modern  school  of  piano  playing  and  com- 
position than  the  sweet-toned  instruments  which  dominated  the 
concert  halls  in  Chopin's  days.  The  home  of  the  Erard,  Pleyel, 
Herz  and  Gaveau  piano  can  show  only  35  establishments  where 
pianos  are  manufactured,  all  together  scarcely  reaching  an  output 
of  25,000  per  annum.  Antoine  Bord  in  his  best  days  turned  out 
as  many  as  4,000  pianos  (mostly  small  uprights)  per  year,  but  even 
this  formerly  enterprising  concern  seems  now  to  be  content  to 
rest  on  its  laurels.  The  firm  of  Pleyel,  Lyon  &  Company  turns  out 
about  3,500  pianos  per  year,  one-seventh  of  the  total  production  of 
France. 


172  i'lAXUS  AND  TllKili  MAKERS 


EXGLAXD 

Wlicii  .loliaiines  Znin])r'  wont  from  Silliormann's  s1iop  to  Lon- 
(l(tii  in  17<i<i,  it  st'ciiis  that  lie  was  at  once  infected  with  the  com- 
mercial hacteria,  laiiipaiit  in  that  greatest  commercial  and  financial 
center  of  the  woi'ld.  Xo  one  holds  the  title  to  the  name  "  father  of 
the  commercial  jiiaiio  "  so  indisputahly  as  that  industrious  Ger- 
man. 11<'  found  the  ai-istoci'at ic  Tschudi.  Broadwood,  Kii-kman 
and  otiieis  makiui^'  hij^h-})riced  harpsichords,  and  later  on  equally 
costly  grand  jtianos,  and  (piickly  decided  to  build  a  piano  at  a 
price  within  reach  of  the  well-to-do  middle  class.  To  reduce  cost, 
he  sim|)lified  tlie  Christofori  action,  adopted  tlie  square  form  of 
the  clavicJiord  and  thus  was  first  in  ])utting'  upon  the  market  a 
square  i)iano  at  a  moderate  price.  This  piano,  although  without 
merit,  either  as  to  workmanshi})  or  tone,  filled  a  long-felt  want, 
and  Zum}>e  amassed  a  fortune  within  a  conq)aratively  short 
time,  u])on  Avhich  he  retired  at  an  early  age.  Kii-kman, 
landing  in  London  in  1740  as  Jacob  Kirchmann,  a  German  luirp- 
sichord  maker,  was  even  more  successful  tiian  Zumpe.  He 
left  an  estate  valued  at  about  .$1,000,000  when  he  died  in 
1778. 

The  financial  successes  of  Kirkman,  Zum]^e,  Broadwood  and 
others  attracted  capital  to  the  industry,  and  London  became  the 
liirthplace  of  the  modern  ])iano  factory,  where  steam-driven  ma- 
chines were  em))loyed.  London  ])iano  manufacturers  utilized  cir- 
(Milai-  saws,  ])laniiig  machines,  etc.,  as  early  as  1815.  In  the  days 
before  the  steam  railroads,  London  was  an  ideal  i)lace  for  ])iano 
manufacturers.  Not  only  did  they  control  a  fine  home  market, 
among  the  great  landowners,  rich  merchants  and  manufacturers, 
hut  they  also  had  absolute  control  of  the  exi)ort  business  to  foreign 
countries  l)y  reason  of  England's  su])i'emacy  of  the  seas.     It  is 


COMMERCIAL  DEVELOPMENT  173 

reported  that  in  1851  Loudon  had  180  firms,  which  produced  25,000 
pianos  a  year,  at  a  value  of  $4,000,000. 

In  about  1860  London  had  reached  its  zenith  as  the  leading  piano 
manufacturing  center.  Edgar  Brinsmead,  in  his  book  published 
in  1870,  claims  an  output  of  about  35,000  pianos  per  annum  for 
England.  Since  that  time  Germany  has  not  only  captured  most 
of  England's  export  trade,  but  is  sending  to  England  direct  not 
less  than  20,000  pianos  every  year,  while  the  total  production  of 
Great  Britain  hardly  exceeds  75,000  pianos  a  year.  The  main 
cause  of  this  state  of  affairs  is  undoubtedly  the  conservatism  with 
which  the  English  manufacturers,  like  the  French,  have  clung  to 
their  old  models  and  methods.  Up  to  1860  the  piano  makers  of 
Germany  looked  to  London  and  Paris  for  new  ideas  and  improve- 
ments in  construction  and  making.  With  modifications  of  their 
own,  they  adopted  the  English  and  French  models  and  used  Eng- 
lish and  French  felt,  wires  and  actions  in  their  pianos.  After  the 
Paris  exposition  of  1867,  Germany  adopted  the  American  system 
of  piano  construction,  made  its  own  wires,  felts  and  actions,  and,  as 
a  result,  soon  dominated  over  England  and  France  in  the  world's 
markets. 

London  is  now  credited  with  126  piano  factories,  still  led  by 
the  revered  names  of  Broadwood,  Collard,  Brinsmead,  Hopkinson 
and  others,  who  for  so  many  years  gave  luster  to  the  English 
piano's  reputation. 

Broadwood  &  Sons  have  lately  adopted  a  progressive  policy 
as  of  old,  using  in  their  new  factory  all  known  modern  improve- 
ments, and  with  characteristic  foresight  are  again  in  the  lead  as 
the  only  London  firm  who  manufacture  every  part  of  their  player 
pianos  in  their  own  factories.  It  is  possible  that  the  English  piano 
industry  under  Broadwood 's  lead  may  retrieve  its  lost  prestige 
by  an  energetic  development  of  the  player  piano,  which  is  destined 
to  be  the  controlling  factor  in  the  piano  industry  of  the  future. 


174  i'lAXuS  AND  TliEiK  AiAKlOKS 

Vot  the  prevailiiiii-  economic  iMilic\'  of  llic  British  Government  is 
a  ^real  liaiidirap  I'or  llie  En,i>iisli  iiiaiiul'acturei-,  making  it  impos- 
sible foi-  liim  to  even  control  his  own  lionie  market,  as  is  done  bv 
the  mamifactnrers  ut'  all  other  countries. 


AMERICA 

North  America,  tlie  new  woild.  ])resented  entirely  ditferent 
conditions  to  the  piano  industry  than  the  old  worhl.  Altliough 
without  nobility  or  aristocracy,  its  natural  resources  i)roduced 
wealth  at  such  a  rai)id  pace  that  even  in  its  early  days  the  piano 
industry  of  Amei'ica  was  very  lucrative.  In  1860  we  find  mam- 
moth piano  factories  in  Boston,  New  York,  Baltimore  and  Phila- 
delphia rivaling  in  every  respect  the  old  renowned  establishments 
of  London. 

That  excellent  })iano  maker  and  inventor,  Jonas  Chickering, 
had  the  good  sense  to  associate  himself,  in  1830,  witli  John  Mac- 
Kay,  an  enterprising  commercial  genius,  who  spread  the  fame  of 
the  Chickering  piano  over  the  entire  United  States  as  it  was  then 
known.  x\t  the  World's  Fair,  London,  in  1851,  Chickering  ex- 
hibited the  first  American  pianos  shown  in  Euro})e,  and  carried 
off  the  highest  honors.  Meyer  of  Pliiladel])hia,  Nunns  tS:  Clark  of 
New  York  and  Gilbert  &  Company  of  Boston  were  also  represented 
at  that  exposition,  all  of  them  making  creditable  exhibits.  After 
the  death  of  his  ])artner,  MacKay,  Chickering,  being  far  in  the 
lead  of  all  other  .\merican  piano  manufacturers,  did  not  continue 
the  aggressive  business  policy  inaugurated  by  MacKay,  and  lack- 
ing an  inspiring  leader,  the  industry  ])rogressed  very  slowly  from 
]S40  to  1855,  when  Steinway  &  Sons  a]:)))eared.  Their  methods  of 
persistent  ]>ul)licity  were  as  revolutionary  as  those  later  on  adopted 
by  Biiitlmer  in  Gernumy.    They  never  relaxed  in  letting  the  public 


COMMERCIAL  DEVELOPMENT  175 

know  that  they  manufactured  a  fine  piano.  William  Steinway, 
with  far-seeing  judgment,  was  not  satisfied  onl}-  to  use  printer's 
ink  with  telling  effect,  but  he  also  began  to  educate  the  public  to 
appreciate  good  music.  Steinway  Hall  was  erected,  the  Theo- 
dore Thomas  orchestra  generously  supported  and  the  greatest 
piano  virtuosos  from  Rubinstein  to  Joseffy  engaged  for  con- 
certs, not  only  in  New  York  but  in  all  large  cities  of  the  United 
States  and  Canada. 

Chickering  &  Sons  followed  Steinway 's  example  and  erected 
Chickering  Hall  in  New  York,  also  one  in  Boston.  Knabe,  Weber 
and  Steck  also  engaged  great  soloists  for  concert  work  in  all  lead- 
ing cities,  creating  a  popularity  for  the  piano  in  proportion  to  the 
growth  of  wealth  in  the  United  States. 

Official  statistics  show  that  during  1869  the  United  States 
produced  about  25,000  pianos  at  a  value  of  $7,000,000,— $3,000,- 
000  more  than  London  received  for  the  same  number  of  pianos  in 
1851.  The  output  for  1910  is  estimated  at  350,000  pianos,  valued 
at  about  $100,000,000. 


PART  TWO 


CHAPTER  II 


The  Commercial  Piano,  Joseph  P.  Hale. 

The  Stencil,  Department  Stores,  Consolidations. 


PART    TWO 

CHAPTER  II 

The  Commercial  Piano 

UP  to  tliis  time  nearly  all  the  pianos  were  manufactured  by 
men  who  were  expert  piano  makers.  Excepting"  William 
Steinway  and  Albert  Weber,  all  the  piano  makers  of  those 
days  were  more  superior  as  craftsmen  than  as  business  man,  valu- 
ing glory  as  piano  constructors  higher  than  financial  success. 
About  1870  Joseph  P.  Hale,  one  of  America's  typical  self-made 
men,  came  to  New  York  from  Worcester,  Mass.,  where  he  had 
accumulated  a  fortune  of  $35,000  in  the  crockery  trade.  Looking 
about  for  an  opportunity  to  invest  his  money  in  an  active  busi- 
ness, he  bought  an  interest  in  the  Grovesteen  piano  factory.  After 
a  short  period  he  severed  this  connection  and  started  a  piano 
factory  on  his  own  account. 

With  the  eminently  practical  trading  instinct  of  the  Yankee, 
Hale  looked  upon  the  piano  as  a  strictly  commercial  proposition. 
Without  the  remotest  knowledge  of  music,  tone  or  theory  of  piano 
construction,  utterly  without  patience  for  scientific  experiments,  he 
dissected  the  piano,  figuring  the  cost  of  case,  plate,  action,  labor, 
varnish  and  other  material,  with  one  point  in  view — how  he  could 
reduce  the  cost  of  the  piano.  He  inaugurated  a  system  of  manu- 
facturing and  merchandising  heretofore  unknown  to  the  American 
piano  trade.  Hale  is,  beyond  question,  the  father  of  the  '^  com- 
mercial "  piano  of  America,  and  has  done  splendid  pioneer  work 
in  his  sphere,  to  the  benefit  of  the  entire  trade.    Unhampered  by 

179 


180 


PTAxns;  Axn  ttifju  ^r.\KKi7S 


tradition  oi"  ])rojn(liee  of 
any  kind,  lie  inainil'aclni'ed 
pianos  as  ho  wonid  lia\'e 
niannractnrcd  bedsteads. 
A  genius  as  an  organizer, 
lie  carried  t1ie  division  of 
laboi-  to  the  last  point,  so 
tliat  lie  could  reduce  his 
hd)or  cost  to  less  than  half 
of  what  his  coni[)etitors 
])aid.  T'Jnying  his  cases, 
keys,  actions,  etc.,  from 
s))ecialists  at  bottom  prices, 
for  cash  on  delivery,  he  was 
not  obliged  to  carry  a  big 
stock  of  luinl)er  or  other 
materia L  Even  when  his 
output  had  reached  the  at 
that  time  imposing  number  of  100  pianos  per  week,  he  would  not 
carry  more  than  one  week's  su])ply  of  stock  on  hand. 

\\  will  be  readily  understood  that  Ilale  could  sell  his  pianos 
far  below  the  cost  pi'ice  of  a  high-grade  piano  and  still  make  a  good 
]irofil.  These  revolutionary  methods  caused  bitter  antagonism  on 
the  part  of  his  com])etitors  of  the  old  school.  Hale  went  on  with 
his  bu.^iness  complacently,  and  ai'gued  that  the  makers  of  high- 
class  j)ian()s  wei'e  all  wrong  in  antagonizing  him,  because,  by  his 
low  i)rice.  he  was  l)i-inging  the  ])iaii()  within  the  reach  of  the  work- 
ing classes.  Once  inti-oduced  there,  out  of  each  10  l)uyers  of  his 
<'lieai>  pianos,  at  least  one  would  develoj)  within  10  years  into  a 
good  |)iano  playei-,  who  would  then  not  be  satisfied  until  he  pos- 
sessed a  high-class  instrument. 


Joseph  r.  Hale 


THE  COMMERCIAL  PIANO  181 

Hale's  prophecy  lias  come  true.  The  number  of  firms  making 
commercial  pianos  increased  steadily,  but  so  did  the  output  of 
the  makers  of  high-class  pianos,  and  to  their  list  names  like  Bald- 
win, Mason  &  Hamlin,  Everett,  Conover  and  many  other  makers 
of  fine  concert  grands  have  since  been  added.  Hale  and  his  fol- 
lowers made  it  possible  for  the  dealer,  especially  in  the  rapidly- 
growing  western  States,  to  market  large  numbers  of  pianos  among 
the  farmers,  artisans,  etc. — tenfold  more  than  would  have  been 
possible  if  they  had  been  restricted  to  the  sale  of  high-class 
makes  only. 

Hale  was  the  first  American  piano  manufacturer  who  discarded 
the  agency  system.  His  goods  were  for  sale  to  anybody,  anywhere, 
as  long  as  the  buyer  was  able  to  pay  for  the  same.  To  avoid  clash- 
ing among  his  own  dealers,  he  started  the  stencil  system.  He  would 
stencil  his  pianos  with  any  name  desired  by  the  buyer,  which  the 
law  permitted.  Thus  the  dealer,  especially  the  big  jobber  of  the 
west,  commenced  to  sell  some  pianos  with  his  own  name  on  the 
fallboard,  or  even  cast  into  or  screwed  on  to  the  iron  plate.  In 
time  the  western  jobber  began  to  see  that  he  might  save  that  great 
item  of  freight  from  Xew  York  or  Boston  to  Chicago  by  manu- 
facturing his  own  goods  at  home,  and  about  the  year  1880  the  first 
factories  were  started  in  Chicago.  Cincinnati  soon  followed,  and 
to-day  the  western  factories  produce  nearly  half  of  the  pianos 
made  in  the  United  States. 

The  tremendous  increase  of  output,  from  25,000  pianos  in  1869 
to  350,000  in  1910,  was  only  made  possible  through  the  educational, 
artistic  and  advertising  propaganda  by  the  makers  of  high-grade 
pianos  on  the  one  hand,  and  the  aggressive  selling  methods  of  the 
makers  of  commercial  pianos  on  the  other.  Many  of  the  large 
western  houses  own  and  successfully  run  factories  in  which  pianos 
of  the  highest  grade  are  made,  as  well  as  factories  turning  out 
commercial  pianos  by  the  thousands. 


182  PIANOS  AND  TlIKll^  MAKERS 

Stencil 

Tlio  mncli-abiisod  and  scandalized  stencil  lias  been  lej»itinia- 
ti/cd,  inasiuucli  as  many  nianulacluring  concerns  trade-mark  one 
or  more  names  other  llian  tlicii'  firm  name,  and  use  such  trade- 
mark names  for  specifie  pianos  made  in  factories  built  especially 
for  tills  1  impose.  Again,  dealers  often  obtain  a  trade-mark  for 
a  certain  iiaiiie,  which  they  use  on  ])ianos  built  especially  for  them, 
all  of  which  is  now  considered  tpiite  proper  and  accepted  by  uni- 
versal usage. 


'&' 


Department  Stores 

AVliile  the  manufacturing  of  a  large  number  of  pianos  has 
become  a  comparatively  easy  matter,  being  merely  a  matter  of 
factoiy  space,  machinery,  system  and  proi)er  organization,  the 
distribution  of  the  manufactured  goods  is  becoming  a  more  and 
more  vexing  problem.  The  general  demand  has  of  late  years 
im])elled  some  of  the  leading  department  stores  in  the  large  cities 
to  add  iiianos  to  their  list  of  commodities.  In  these  stores  the 
one-price  system  has  been  introduced  with  more  or  less  success. 
The  so-called  mail-order  houses  are  also  distributing  pianos,  and 
it  a])i)ears  as  if  the  small  dealer  will  eventually  have  to  (j[uit  the 
field,  un](^ss  he  is  strongly  su})ported  by  the  manufacturer.  The 
keen  competition  has  induced  some  of  the  larger  manufacturing 
concerns  to  become  their  own  distributors,  having  salesrooms  in 
most  of  the  leading  cities. 

Consolidation 

Several  large  manufacturers  of  high-grade  pianos  have  found 
it  to  their  interest  to  combine  with  large  concerns  having  a  supe- 
rior selling  organization,  like  Weber  and  Steck,  who  joined  the 
Aeolian  Company,   or    with   large   manufacturers   of   commercial 


THE  COMMERCIAL  PIANO  183 

pianos,  as  in  the  case  of  the  American  Piano  Company,  a  combi- 
nation of  Chickering  &  Sons,  Knabe  &  Company  and  Foster, 
Armstrong-  &  Company,  whose  combined  output  per  year  is  over 
15,000  pianos  of  all  grades.  There  are  a  number  of  concerns  in  the 
middle  west  whose  annual  individual  output  exceeds  10,000  pianos, 
while  a  production  of  from  3,000  to  5,000  pianos  per  year  is  at 
present  rather  the  minimum  for  up-to-date  firms.  It  is,  perhaps, 
safe  to  say  that  each  of  the  three  largest  western  manufacturing 
firms  turns  out  nearly  20,000  pianos  per  year,  or  together  more 
than  twice  as  much  as  the  production  of  the  entire  United  States 
in  1869. 

How  profitable  large  production  coupled  with  independent  dis- 
tribution can  be  made  is  best  illustrated  by  the  fact  that  a  Chicago 
house  managed  to  sell  60,000  pianos  of  one  style  or  pattern.  What 
economy  in  manufacturing  may  be  practiced  in  making  such  an 
immense  number  of  pianos  of  one  kind! 


PART  TWO 


CHAPTER  III 

The  Art  Piano,  Geronimo,  Trasunti,  Hans  Ruckers,  Sliudi,  Broad- 
ivood,  Sir  Alma  Tadema,  Steimcay,  Marquandt,  Norman,  Sir 
Edward  Poynter,  Theodore  Roosevelt,  Denning,  Boseudorfer, 
Empress  Elizabeth,  Ibacli's  Jubilee  Grand,  Baldwin,  Barnhorn, 
Guest,  Bliiiliner,  Erard,  Pleyel,  Lyon  S  Co.,  Chickering's 
Louis  XIV  Grand,  Everett's  Sheraton  Grand,  Samuel  Hay- 
ward,  Knahe's  "  Nouveau  Art  "  Grand,  Weber's  Louis  XIV 
Grand. 

The  Pedal  Piano,  Schone,  Schumann,  Mendelssohn,  Pleyel,  Erard, 
Pfeiffer,  Henry  F.  Miller. 


PART    TWO 

CHAPTER  III 

Art  Pianos 

A  RT  is   described    as   the    "  harmonious    beautiful."      An 

/-%       artist  must  therefore  not  only  have  a  highly  developed 

"^    '^'    sense  of  truth,  the  grand,  noble  and  beautiful,  but  also 

the  ability  to  give  form  to  his  ideals  in  an  absolutely  pleasing 

manner. 

Piano  making  has  not  as  yet  been  developed  to  a  positive 
science  with  fundamental  laws,  but  it  has  ever  been  an  art,  calling 
for  a  familiarity  on  the  part  of  the  piano  constructor  with  all  of 
the  liberal  arts,  more  particularly  music,  architecture,  sculpture 
and  painting.  An  inborn  talent  for  music  is  the  first  requisite  of 
an  artistic  piano  maker.  His  sense  of  harmony  must  be  acute,  so 
that  he  may  distinguish  the  finest  shadings  in  tone  color.  He  must 
he  capable  of  mentally  hearing  the  klangfarbe  which  he  desires 
to  impart  to  his  piano,  or  create  in  it.  He  draws  his  scale  irre- 
spective of  form  or  size,  because  so  far  he  only  seeks  to  produce 
tone.  After  succeeding  in  getting  the  tone  quality  and  quantity 
lie  desires,  he  begins  to  construct  the  frame  and  casing  of  his 
piano,  for  which  a  knowledge  of  architecture  and  talent  for  de- 
signing are  imperative.  He  next  calls  on  the  sculptor  for  plastic 
decoration,  and  on  the  painter  for  higher  embellishment  by 
appropriate  pictures  to  finally  achieve  the  harmonious  beautiful. 

187 


188  PIANOS  AND  TTTETK  ^FAKERS 

Art  is  a  passionate  expression  of  ideal  conception  and  develops 
(>nl>  artci'  a  nation  lias  accuniuiated  sufficient  wealth  to  enable 
some  nf  iN  lii^iuM-  intellects  to  devote  themselves  to  art  and  science 
williuLil  i'ei;ai\l  to  linancial  reward.  The  true  artist  dreams,  thinks 
and  woi'ks  for  art's  sake  only.  He  is  altoa,ether  too  sensitive  for 
barter  and  trade,  and  needs  the  freedom  of  linancial  independence, 
the  enjoyment  of  luxuries  and  the  inspiration  of  the  beautiful  as 
a  necessary  stimulant  and  recpiisite. 

The  first  art  pianos  were  constructed  by  the  early  Italian 
makers.  After  Geronimo  had  invented  his  wini>'-formed  har))si- 
choid.  he  embellished  the  outer  case  of  the  same  with  artistic  carv- 
ings, as  shown  on  the  instrument  of  his  make  at  the  South  Ken- 
sington Museum  in  London.  Alessandro  Trasunti  and  other 
Italian  makers  improved  greatly  on  Geronimo 's  efforts  and  built 
sjiecial  cases  detachable  from  the  body  of  the  instrument.  These 
cases  were  decorated  with  exquisite  carvings,  embellished  with 
inlaid  ivory  designs  and  often  with  i^ictures  painted  b}^  masters. 

That  celebrated  makei",  Hans  Euckers  of  Antwerp,  called  on 
his  friends  among  the  great  Flemish  painters  to  enhance  tlie 
beauty  and  value  of  his  har])sichords  by  ]^ainting  ])ictures  upon 
them.  Indeed,  his  connection  with  the  artists  was  so  intimate  that 
he,  as  well  as  his  son  and  his  nei)hew,  were  elected  members  of 
the  "  Painters  Guild,  of  St.  Luke,"  Many  specimens  of  the  old 
Italian  and  I'lemish  school  are  to  be  found  in  the  collection  of 
old  instruments  of  Paul  De  AVit  of  Leipsic,  Wilhelm  Heyer  of  Co- 
logne, Morris  Steinert  of  New  Haven,  the  Kensington  Museum  of 
London  and  the  Germanic  Museum  at  Nuremberg.  The  paintings 
ii|Min  many  of  these  instruments  oftentimes  represent  a  value 
much  greater  than  that  of  the  i)ian()  alone. 

Cost  is  never  considered  in  the  building  of  an  art  piano.  The 
designer  and  executing  ai-tists  are  given  full  liberty  to  work  out 
their  ideas  in  accordance  with  the  desired  style.     Burkat  Shudi 


THE  AET  PIANO  189 

built  for  Frederick  the  Great  a  liigiily  decorated  harpsichord,  for 
which  he  received  one  thousand  dollars,  an  enormous  amount,  con- 
sidering the  money  value  of  those  days;  his  successors,  John 
Broadwood  &  Sons,  not  long  ago  built  for  Sir  Alma  Tadema  an 
art  grand  costing  many  thousand  dollars.  In  richness  of  design 
and  brilliancy  of  execution  this  instrument  is  unique.  The  art 
grand  of  Erard  is  an  exquisite  specimen  of  that  artistry  so  pecu- 
liar to  French  genius  and  handicraft  when  unlimited  freedom  is 
given  to  fantasy,  regardless  of  cost.  Mr.  Marquandt  of  New  Yojk 
is  said  to  have  paid  forty  thousand  dollars  for  an  art  grand  piano 
built  by  Steinway  &  Sons,  after  special  design  of  Sir  Alma  Tadema. 
Johnston  Norman  of  London  executed  the  embellishments  under 
Sir  Alma's  personal  direction  and  Sir  Edward  Poyuter  painted 
his  picture,  "  The  Wandering  Minstrels,"  upon  the  lid.  It  took 
fully  five  years  to  finish  this  marvel  of  combined  arts. 

At  the  White  House  in  Washington,  D.  C,  is  the  one-lmndred- 
thousandth  piano  built  in  the  factories  of  Steinway  &  Sons.  It 
was  presented  by  that  firm  to  President  Roosevelt,  for  the  Ameri- 
can people.  The  designs,  models  and  decorations  for  this  piano 
are  the  combined  work  of  the  most  noted  sculptors  and  architects 
of  America.  The  painting  is  by  Thomas  W.  Denning.  The  total 
cost  of  the  piano  was  about  $20,000. 

Ludwig  Bosendorfer  furnished  the  Empress  Elizabeth  of 
Austria  with  an  art  grand,  in  the  decoration  of  which  the  sculp- 
tor's art  predominates  to  an  overwhelming  degree,  showing  a 
most  masterly  treatment  of  wood  in  its  highest  capacity  for  the 
display  of  artistic  genius.  In  contrast  to  the  above  we  have  Rudolf 
Ibach  Sohn's  Jubilee  grand,  being  the  fifty-thousandth  production 
of  his  factories.  Its  graceful  lines  and  chaste  decorations  are 
eminently  pleasing  and  restful. 

The  house  of  Ibach  has  been  in  the  front  rank  in  the  propa- 
ganda for  artistry  in  piano  case  designing,  and  their  "  Memorial," 


VJU  I'lAXOS  AND  THEIR  MAKEKS 

])nl)lislied  in  181)4,  the  one-luuulrodth  anniversary  of  the  founding 
of  their  linn,  ought  to  be  in  tlie  hands  of  every  studious  i)iano 
maker.  It  contains  a  most  excellent  eoHection  of  designs,  many 
of  which  wonUl  have  a  place  in  this  work,  if  space  permitted. 

That  there  are  no  limitations  to  the  artist's  desires  or  inclina- 
tions in  designing  and  embellishing  piano  cases  is  shown  in  the 
Jjaldwin  art  grand.  The  realistic  tendency  of  the  modern  school 
is  dei)icted  in  a  masterly  manner  in  the  sculpturing  of  Mr.  C.  T. 
]5arnhorn,  also  in  the  general  design  of  the  case  by  ]\Ir.  1.  II,  Guest, 
both  of  Cincinnati,  Ohio.  The  Bliithner  art  grand  is  impressive 
because  of  the  severity  of  the  design,  an  example  of  the  dominat- 
ing boldness  of  the  "  new  school." 

The  Weber  Piano  Company  has  made  the  Imilding  of  art 
pianos  a  specialty  for  many  years.  The  accompanying  picture 
represents  one  of  their  Louis  XIV  style  grand  pianos,  designed 
by  W.  P.  Stymus,  Jr. 

The  art  grand  i)iano  of  Pleyel,  Lyon  &  Company  is  a  beautiful 
specimen  of  Renaissance  design,  while  the  upright  shows  a  most 
effective  ai)plication  of  the  Gothic  style. 

The  Chickering  grand  in  Louis  XIV  style  is  a  typical  produc- 
tion of  Chickering  &  Sons'  art  department.  The  Sheraton  grand 
of  the  Everett  Company,  designed  by  John  Anderson,  with  ]iaint- 
ings  by  Samuel  Hay  ward,  is  a  specimen  of  the  Everett  Company's 
art  work.  The  '*  Nouveau  Art  "  grand  of  Knabe  &  Company 
is  from  their  catalogue  of  art  jjianos,  in  which  all  dominant  styles 
are  represented. 

Nearly  all  the  leading  firms  of  ]>iano  makers  during  the  past 
twenty  years  have  added  special  departments  to  their  establish- 
ments for  the  creation  of  art  ]uanos,  employing  theii-  own  de- 
signers and  executing  artists.  The  architects  of  modern  mansions 
insist  that  the  design  of  the  piano  as  well  as  of  the  furniture  must 
be  in  harmonv  with  the  architecture  of  the  room  in  which  it  is 


Alessandro  Trasunti's  Art  Harpsichord,  1531 


Hans  Ruckers'  Double  Spinet,  with  Paintings,  Antwerj),  1500 


John  Broadwood  &  Sons'  Art  Grand,  Built  for  Sir  Alma  Tadema 


Ludwig  Busendorfer  Art  Grand.     Built  for  Empress  Elizabeth  of  Austria 


Rudolf  Ibach  Sohn  Jubilee  Art  Grand 


Julius  Bluthner  Art  Grand 


Erard  Art  Grand 

Designed  by  Coupri 


rieyel,  Lyon  &  Company  Renaissance  Art  Grand 


Pleyel,  Lyon  &  Company  Gothic  Upright 


Steiuway  ifc  Sons  Art  Gnuid  Piano  made  for  Frederick  Marquandt 
of  Xew  York  City.     Cost  $40,000 


Steinway  &  Sons   One-hundred-thousandth  Piano,  at  the  White  House,  Washington,  D.  C. 
Paintings  by  Thomas  W.  Denning.    Cost  $20,000 


Baldwin  Art  Grand 


\^'eber  Louis  XIV  Art  Graud 


Chickering  &  Sons    Louis  XIV  Art  Grand 


Everett  Piano  Company  Sheraton  Art  Grand 


William  Koabe  «fc  Coinpauy  "jSouvluu  Ait"  Graud 


THE  PEDAL  PIANO  191 

to  be  placed.  This  extended  use  of  correct  styles  in  art  pianos 
has  favorably  influenced  the  genei-al  design  of  the  commercial 
piano  of  the  present  day,  the  form  and  exterior  of  which  are 
of  a  much  more  agreeable  and  pleasing  character  than  the  cold 
conventional  designs  of  former  years.  Thus  we  find  the  ennobling 
influence  of  art  penetrating  the  industry,  and  quietly  fulfilling  its 
mission  of  elevating  character  and  taste. 

The  Pedal  Piano 

Since  the  church  organ  had  been  developed  to  perfection  long 
before  the  piano  was  invented,  and  the  first  piano  makers  were 
recruited  almost  entirely  from  the  organ  maker's  guild,  it  is 
reasonable  to  suppose  that  "  pedal  pianos  "  were  constructed  in 
the  early  days  of  the  piano  industry,  although  we  have  no  record 
of  any  up  to  the  year  1843,  when  the  author's  uncle,  Louis  Schone, 
constructed  pedal  pianos  for  Robert  Schumann  and  Felix  Mendels- 
sohn at  Leipsic.  Schone  constructed,  for  Mendelssohn,  a  pedal 
mechanism  to  be  used  with  a  grand  piano,  but  Robert  Schumann 
preferred  his  pedal  action  connected  with  the  regular  upright 
piano.  The  keyboard  for  pedaling  was  placed  under  the  keyboard 
for  manual  playing,  had  29  notes  and  was  connected  with  an 
action  plaoed  at  the  back  of  the  piano  where  a  special  soundboard, 
coverexi  with  29  strings,  was  built  into  the  case.  As  is  well  known, 
Schumann  wrote  some  of  his  best  music  for  this  novel  instrument. 

Erard  and  Pleyel  also  built  pedal  pianos  in  Paris,  and  it  can 
hardly  be  doubted  that  Henri  Pape  also  tried  his  hand  at  it, 
because  there  has  ever  been  a  demand  for  such  instruments,  by 
organists,  for  practice  purposes.  In  America  the  Henry  F.  Miller 
&  Sons  Piano  Company  has  for  years  made  a  specialty  of  building 
pedal  pianos  for  organists. 

Carl  J.  Pfeiffer  of  Stuttgart  has  devoted  himself  of  late  years 
to  the  improvement  of  this  instrument,  with  vei'y  satisfactory  re- 


W2 


PIAXOS  A.\l»  TllVMl   MAKKl.'S 


Carl  J.  i'luiJlur's  Action  for  IVdal  l")>rigiit  Pianos 


Carl  J.  Pfeiffer's  Attachment  for  Pedal  Grand  Piano 


THE  PEDAL  PIANO 


193 


Carl  J.  Pfeiffer's  Upright  Piano  for  Pedal  Practice 


Carl  J.  Pfeiffer's  Mechanism  for  Organ  Pedal  Practice 


194  PIANOS  AND  TIIKIK  MAKERS 

suits.  Using  the  li'on  I'l-aiiu'  and  overstrung  system,  liis  pedal 
tones  are  sonorous  and  itowci-rul  and  llic  pedal  aclidii  almost  the 
same  in  Idiu-li  as  the  organ  petlal.  ills  in(k'i)eii(k'nt  i)edal  can 
be  easily  attaclicd  to  a  gi'and  piano,  as  sliown  in  flic  illustration, 
while  for  upright  piaiu)s  the  pedal  is  placed  under  (lie  framework 
of  the  piano.  A  very  ingenious  and  \aluahle  in\ention  is  Pfeiffer's 
mechanism  for  organ  ]^edal  ])ractice,  which  can  be  built  into  any 
upright  piano  and  used  withoul  aU'ecting  the  touch  for  hand  i)lay- 
ing.  As  the  illustration  shows,  the  pedal  mechanism  is  so  con- 
structed as  to  relieve  the  piano  action  instantly  when  the  foot  is 
removed  from  the  pedal.  These  two  practical  inventions  of  Pfeif- 
fer's  have  been  thoroughly  tried  out  by  prominent  organists  and 
are  highly  reconunended,  not  only  for  practice  pur])Oses,  but  also 
for  the  music  lover  who.  enjoys  the  study  of  Bach's  immortal  pre- 
ludes and  fugues  or  Schunu^nn's  beautiful  sketches  for  pedal 
l)ianos,  not  to  speak  of  Liszt's  Orpheus  and  transcriptions  of  Uott- 
schalk's  repertoire,  and  others. 

Pfeitfer's  inventions  have  two  cardinal  virtues.  They  are  emi- 
nently practical  and  at  the  same  time  inexpensive,  which  ought 
to  aid  in  a  more  general  introduction  of  the  pedal  piano  in  the 
future. 

The  Player  Piano 

Originally  condemned,  laughed  at  as  a  useless  plaything,  or 
at  best  a  brother  to  the  barrel  organ,  the  i)layer  i)iano  has  forged 
rajjidly  to  the  front  during  the  ])ast  four  or  five  years. 

The  unsightly  cabinet  player  had  to  blast  the  way  for  the  player 
piano.  Its  low  cost  made  an  aggressive  advertising  campaign 
possible.  Thousands  were  sold  and  the  ])ul)lic  became  acquainted 
with  the  possibilities  of  player  mechanism.  The  cabinet  player 
became  obsolete  as  soon  as  ])roi)erly  constructed  player  pianos  at 
moderate  prices  appeared  on  the  nuirket,  and  became  such  favorites 


THE  PLAYER  PIANO  195 

that  the  most  obstinate  opponents  of  the  player  piano  among  the 
piano  manufacturers,  were  forced  to  recognize  its  commercial  im- 
portance. 

With  the  introduction  of  the  88-note  compass,  the  artistic 
possibilities  are  almost  without  limitations,  and  the  time  is 
not  far  distant  when  music  will  be  specially  written  for  the 
player  piano,  of  such  technical  complexion  as  to  preclude  its  per- 
formance by  hand. 

The  jDlayer  piano  is  opening  up  an  entirely  new  and  much 
larger  field  than  the  piano  proper  ever  had.  Considering  the  in- 
crease from  50  factories  producing  25,000  pianos  in  1869,  to  200 
factories  turning  out  350,000  pianos  in  1910,  it  seems  difficult  to 
form  any  estimate  of  the  magnitude  which  the  industry  may  as- 
sume in  the  future,  when  the  player  piano  has  reached  its  ultimate 
development. 


PART  TWO 

CHAPTER  IV 

Export,  Steinway,  Aeolian. 

Methods  of  Marketing,  The  Agency  System. 


PART    TWO 

CHAPTER  IV 

Export 

A  MOVEMENT  of  a  most  peculiar  character  must  be  men- 
tioned in  this  connection,  namely,  the  transplanting  of 
American  manufacturing  methods,  by  American  manu- 
facturers, to  Europe.  Wlien  Sebastian  Erard  closed  his  shops 
in  Paris  and  went  to  London  to  start  a  factory  in  the  British 
metropolis,  he  was  driven  there  by  the  terrors  of  the  French 
revolution.  He  returned  to  Paris  as  soon  as  peace  was  restored, 
maintaining  his  London  establishment,  however,  in  charge  of  his 
nephew,  Pierre.  This  is  the  only  instance  on  record  where  a 
piano  manufacturer  removed  his  business  from  his  own  country 
to  another.  Now  the  American  manufacturers  are  going  over  to 
Germany  and  England,  establishing  branch  factories  for  their 
products,  to  better  supply  their  European  and  export  trade. 

Steinway  &  Sons  started  their  Hamburg  factories  about  1880. 
The  Aeolian  Company  a  few  years  ago  established  a  factory  at 
Gotha,  Germany,  for  making  the  Steck  pianos  and  is  now  erecting 
a  large  factory  near  London  for  the  Weber  piano. 

Owing  to  high  price  of  labor  and  to  undeveloped  shipping  and 
banking  facilities,  the  American  piano  manufacturer  cannot  look 
for  any  extended  export  business.  As  a  matter  of  fact,  there  is 
nowhere  on  the  globe  such  a  good  market  as  the  United  States 
at  the  present  time.     Because  of  the  prevailing  high  standard  of 

19<) 


200  PIANOS  AND  TJTETR  MAKERS 

living,  an  Auieiieau  city  witli  a  population  of  100,000  can  and  does 
hny  more  ])ianos  tlian  any  Soutli  American  re])nl)lic  with  2,000,000 
inliabitants,  of  wliicli  only  a  small  fraction  are  able  to  wear  shoes. 
Australia,  with  its  5,000,000  ])eoi)le,  does  not  take  over  3,000 
])ianos  per  year.  Japan  is  beginning  to  make  its  own  pianos,  while 
China,  with  a  })upulatiun  of  over  400,000,000,  buys  hardly  any 
pianos.  The  same  can  be  said  of  almost  all  other  Asiatic  nations. 
It  is,  therefore,  the  home  market  to  which  the  American  manu- 
facturer will  have  to  look  for  any  expansion  of  his  business,  al- 
though a  limited  business  otfers  almost  everywhere  for  American 
player  pianos  of  competitive  value  or  superior  (piality. 

Methods  of  Marketing 

To  increase  sales,  the  product  must  be  brought  nearer  and 
nearer  to  the  masses,  by  lowering  the  cost  of  production  and  mar- 
keting. The  system  of  marketing  through  agents,  who  control  a 
restricted  territory,  practiced  by  the  leading  makers  of  America 
for  so  many  years,  has  served  its  purpose  and  is  not  in  harmony 
with  progressive  merchandising.  Joseph  P.  Hale  discovered  that 
truth  40  years  ago.  By  breaking  away  from  it  he  made  more 
money  in  his  time  than  any  other  piano  manufacturer. 

Makers  of  high  grade  as  well  as  commercial  pianos  who  still 
adhere  to  the  agency  system  will  eventually  be  compelled  to  sell 
their  pianos  as  any  other  product  is  sold,  namely,  to  whomsoever 
is  able  to  pay  for  it.  The  much  desired  one-price  system  is  utterly 
imi)ossible  as  long  as  regularly  a])])ointed  agents  control  the  sale, 
and  although  leading  houses  publish  their  retail  prices  to  the 
l)ublic,  competition  forces  deviation  in  many  instances. 

In  1881  the  author  found  at  Milan,  Italy,  a  piano  dealer  who 
carried  in  stock  grand  and  upright  pianos  of  all  the  leading 
makers  of  the  world.  It  w^as  a  most  interesting  study  to  play 
and  compare  the  Erard  with  the  Steinway,  the  Chickering  with 


METHODS  OF  MARKETING  201 

the  Pleyel,  the  Broadwood  or  Col  lard  with  Bosendorfer  or  Bluth- 
ner,  and  Schroter  with  Schiedmayer,  so  interesting  that  I  gave 
lip  a  whole  afternoon  to  that  pleasure,  until  night  overtook  me. 
Questioning  the  dealer  as  to  whether  it  was  not  at  times  embarrass- 
ing for  him  to  extol  the  merits  of  the  different  makes,  he  replied 
that  he,  as  a  dealer,  never  attempted  to  influence  his  customers  in 
their  selection  of  a  piano.  The  prices  were  all  marked  in  plain 
figures.  He  knew  that  all  of  the  pianos  were  of  the  highest  grade, 
and  since  tastes  as  to  tone,  case,  etc.,  differ,  he  preferred  to  have 
his  customers  select  whatever  appealed  to  them  as  best.  When- 
ever a  piano  was  sold  he  would  order  another  one  of  the  same 
make  to  keep  his  assortment  complete.  This  man  carried  about 
400  pianos  permanently  in  stock  and  did  the  largest  retail  business 
in  Italy.  I  left  his  warerooms  thoroughly  convinced  that  this  was 
the  proper  way  to  handle  the  piano  selling  business.  He  was  a 
merchant,  high-toned,  enterprising,  carrying  on  his  business  in 
a  most  honest,  respectable  manner. 

In  the  large  cities  of  the  continent  of  Europe,  and  more  espe- 
cially in  London,  one  can  find  pianos  of  celebrated  makers  in 
several  warerooms,  although  the  maker  may  have  his  own  city 
showroom.  The  time  will  come  when  piano  manufacturers  will 
fix  the  wholesale  and  retail  price  for  their  product,  and  then  sell 
to  any  or  all  dealers  in  any  city  or  territory  without  any  other 
restrictions  than  the  maintenance  of  retail  prices,  as  established 
by  themselves.  Unless  this  system  is  adopted  the  manufacturers 
will,  because  of  the  practices  of  the  dealer  (born  of  the  agency 
system),  be  more  and  more  driven  into  combinations,  by  the 
strength  of  which  they  will  be  able  to  control  the  dealer  or  do 
their  own  distributing.  This  again  will,  as  a  matter  of  logical 
evolution,  lead  to  the  formation  of  greater  combinations,  ending 
in  the  so-called  trust,  as  illustrated  in  the  steel,  woolen  and  other 
dominant  industries. 


PART  TWO 

CHAPTER  V 

The  Trust  Movements  of  1892,  1897  and  1899 


PART   TWO 

CHAPTER  V 

The  Trust  Movements  of  1892,  1897  and  1899 

IN  the  spring  of  1892  I  was  invited  to  take  an  active  part  in 
the  formation  of  a  piano  trust.  My  studies  in  economics  had 
convinced  me  long  ago  that  the  trust  was  not  only  the  logical 
development  of  our  factory  system,  according  to  the  law  of  evolu- 
tion, but  in  some  instances  the  only  salvation  for  an  industry, 
which,  because  of  too  many  rivaling  establishments,  suffered  on  the 
one  hand  from  an  unreasonable  expense  account,  and  on  the 
other  from  over-competition,  both  of  which  reduced  profits  to  a 
minimum. 

The  piano  industry  was  not  in  dire  straits,  still  the  expense  of 
carrying  on  the  business  was  out  of  all  proportion  to  the  intrinsic 
value  of  the  product,  and  the  selling  methods  were  anything  but 
ethical.  The  greatest  evil,  however,  was  that  the  industry  as  a 
whole  was  suffering  from  lack  of  sufficient  working  capital. 

I  agreed  to  investigate  the  proposition  and  then  give  my  opin- 
ion as  to  the  feasibility  of  carrying  it  to  a  successful  conclusion. 
My  first  step  was  to  collect  statistics  as  a  basis  for  calculation. 
The  status  of  the  piano  industry  in  the  United  States  presented 
itself  as  follows: 

On  January  1,  1892,  132  firms  and  corporations  were  engaged 
in  the  manufacturing  of  pianos  and  organs  in  the  United  States, 

205 


206  PIANOS  AND  TilKllJ  MAKEKS 

Uiiiiiiii;'  out  about  111,500  pianos  and  92,750  organs  per  year,  of  a 

total  sclliiio-  value  of $22,235,000 

Cost   of  lalioi-  and  iiiatci-ial  aiiinunlcd  to l.*V)G2,500 

Leavint^-  a  margin  I'oi-  ]»i-olit  and  expenses  of $  8,872,500 

\l  all  or  at  least  a  majority  of  the  niannt'actnriiig  concerns 
conld  !)('  niei-,i>e(l  into  one  great  coi-poi-alioii,  it  would  be  ])ossible 
to  carry  on  a  business  of  uiaiuiFaclui'ing  pianos  and  oi'gans,  niak- 
ini>'  only  foui'  kinds  ol"  instruments:  namelv. 

First,  artists'  pianos  and  organs,  wliicli  should  l)e  of  the  high- 
est grade  and  couiniand  the  highest  prices  i)aid  now  for  such  instru- 
in(Mits.  Second,  a  fii"st-class  instrnment.  Third,  a  medium-grade 
instrument.    Fourth,  a  low-grade  instrument. 

It  was  proposed  to  capitalize  tliis  corporation  at  fifty  million 
($50,()()(),000)  dollars.  Fair  and  just  value  was  to  be  allowed  to 
each  concern  for  its  |)roijerty.  The  affairs  of  the  coi'poration  were 
to  be  managed  by  a  Board  of  Dii-ectors,  elected  by  the  share- 
holders and  chosen  from  the  ranks  of  the  most  experienced  men 
engaged  in  the  manufacture  and  sale  of  i)ianos  and  organs. 

The  General  Purchasing  and  Contract  (^om])any  was  organized 
under  the  laws  of  West  Virginia,  with  a  capital  of  $1,000,000. 
This  contract  company  was  to  conduct  iho  ])urchase  of  the  various 
piano  and  organ  concerns,  and,  as  soon  as  a  sufficient  number  of 
options  were  secured,  the  American  Piano  and  Organ  Company 
was  to  be  started. 

On  Alay  12,  1892,  the  contract  com})any  entered  into  an  agree- 
ment with  a  syndicate,  composed  of  a  number  of  leading  New  York 
l)ankers  who  obligated  themselves  to  provide  capital  to  the  amount 
of  $5,(K)(),0()0,  to  facilitate  the  purchasing  of  such  manufacturing 
concerns  as  eithei-  needed  money  to  cancel  their  liabilities  or  pre- 
ferred to  sell  for  cash  instead  of  taking  the  securities  of  the  Ameri- 
can Piano  and  Organ  Company  for  their  ])lants  and  chattels. 


THE  TRUST  MOVEMENT  207 

One  of  the  main  reasons  wliy  the  leading  bankers  were  invited 
to  assist  in  the  enterprise  was  to  insure  their  active  su})i)ort  of 
the  securities  of  the  American  Piano  and  Organ  Company  as  soon 
as  they  were  listed  on  the  Stock  Exchange.  Being  interested  by 
prospective  loans  up  to  five  million  ($5,000,000)  dollars,  for  which 
they  would  hold  the  securities  of  the  American  Piano  and  Organ 
Company,  these  bankers  would,  for  their  own  interests,  give  the 
strength  of  their  influence  and  manifold  connections  to  the  enter- 
prise and  to  the  marketing  of  these  securities. 

The  financial  basis  of  the  undertaking  being  arranged  in  a 
proper  and  satisfactory  manner,  the  emissary  of  the  contract  com- 
pany took  the  field,  submitting  to  the  piano  and  organ  manufac- 
turers the  proposition. 

It  will  be  observed  that  the  scheme  was  a  bankers'  proposition. 
Its  aim  was  to  procure  the  necessary  outside  capital  to  put  the 
industry  on  a  proper  footing  and  upon  a  safe  financial  basis  for 
legitimate  expansion.  Neither  the  scope  nor  aim  of  the  proposi- 
tion were,  however,  properly  understood  and  comprehended  by 
the  majority  of  the  manufacturers,  and  the  negotiations  leveled 
down  in  most  cases  to  a  bargaining;  the  seller  asking  an  unrea- 
sonable price  and  the  buyer  trying  to  obtain  options  at  workable 
values.  The  amusing  fact  developed  that  almost  every  seller 
objected  to  "  water  "  and  found  fault  with  what  he  considered  an 
over-capitalization;  at  the  same  time  he  would  ask  such  an  enor- 
mous price  for  his  own  property  that,  if  a  corresponding  amount 
was  allowed  to  all  sellers,  it  would  have  been  necessary  to  increase 
the  capital  stock  of  the  American  Piano  and  Organ  Company 
threefold,  thereby  making  it,  of  course,  of  proportionately  less 
value. 

In  spite  of  the  bitter  opposition  of  the  trade  press,  the  supply 
trades  and  other  interests  that  erroneously  feared  to  suffer  if  the 
trust  should  become  a  fact,  a  sufficient  number  of  strong  firms 


208  PIANOS  AXl)  THEIR  MAKERS 

and  corporations  saw  the  groat  aflvantage  to  he  obtained,  to  as- 
sure tlie  success  of  the  undertaking,  when  the  great  i)anic,  starting 
in  April,  1893,  put  a  sudden  stop  to  all  further  negotiations  and 
the  scheme  was  abandoned. 


1897 

During  the  trying  years  of  free-trade  experiment,  from  1893 
to  1897,  the  piano  industry  stood  u{)  well  as  compared  with  other 
industries.  Comparatively  few  failures  were  recorded,  and  at 
Ihe  end  of  that  long  period  of  business  depression  the  industry 
could  even  boast  of  an  increase  in  jn'oduction.  This  remarkable 
showing  had  not  been  overlooked  by  the  banking  fraternity,  but 
it  was  also  known  that  the  piano  manufacturers  were  very  heavy 
borrowers  through  all  those  years.  However,  the  fact  that  the 
industry  did  enjoy  this  credit  proved  its  inherent  strength  and 
soundness,  and  the  trust  idea  was  again  taken  up  in  earnest. 

Many  of  the  manufacturers  who  in  1892  had  stood  aloof,  or 
had  directly  opposed  the  trust  idea,  now  looked  rather  favorably 
upon  the  i)roposition  and  it  appeared  as  if  the  project  might  be 
carried  through.  Nearly  all  those  who  had  supported  the  move- 
ment of  1892  again  took  an  active  part  in  the  new  effort.  On 
September  24,  1897,  the  "  Columbia  Investment  Company  "  was 
organized  and  incorporated  under  the  laws  of  New  Jersey  with  a 
capital  of  one  million  ($1,000,000)  dollars.  This  company  entered 
upon  an  agreement  with  a  syndicate  of  bankers  who  obligated 
themselves  to  advance  u])  to  five  million  ($5,000,000)  dollars  for 
the  purpose  of  acquiring  the  various  piano  factories.  All  the 
contracts  and  agreements  were  similar  to  those  of  the  1892 
attempt. 

Several  of  the  largest  manufacturers  declared  their  willing- 
ness to  join  the  consolidation,  but  the  difficulty  arose  how  to  deal 


THE  TRUST  MOVEMENT  209 

justly  and  fairly  with  all  the  desirable  concerns.  While  appar- 
ently the  manufacturer  sold  his  business  to  a  new  company,  he  was 
still  largely  interested  as  a  shareholder  in  this  concern.  To  assure 
lasting  success,  all  deals  had  to  be  made  on  a  sound  business  basis 
and  real  value  had  to  be  shown  for  the  shares  issued  to  the 
vendors. 

Notwithstanding  the  fact  that  a  number  of  the  largest  manu- 
facturers had  either  executed  agreements  or  had  reached  the  point 
of  willingness  to  sell  to  the  Columbia  Investment  Company,  the 
enterprise  had  to  be  abandoned  because  of  the  state  of  the  money 
market,  which  made  the  sale  of  new  securities  impossible  for  a 
long  time  to  come. 

1899 

In  the  early  part  of  1899  the  trust  scheme  was  again  revived, 
but  upon  an  entirely  different  basis  and  plan  than  that  applied  in 
1892  and  1897.  To  eliminate  the  large  expense  connected  with  the 
obligations  to  an  underwriters'  syndicate,  it  was  proposed  to 
invite  only  such  concerns  into  the  combination  as  could  take  care 
of  their  own  liabilities.  The  allotment  of  shares  of  stock  was  to 
be  based  on  a  proper  ratio  to  the  net  profits  shown  for  the  previous 
five  years,  with  due  consideration  of  the  value  of  all  tangible 
assets. 

Although  this  new  plan  appealed  strongly  to  a  number  of  the 
leading  manufacturers,  petty  jealousy,  the  fear  that  one  or  the 
other  might  be  treated  more  liberally  and  the  reluctance  of  being 
among  the  tirst  to  sign,  even  after  an  agreement  had  been  reached, 
made  the  negotiations  so  wearisome  and  tedious  that  the  proposi- 
tion was  dropped  for  good  after  one  month's  work  in  the  field. 

The  piano  trade  was  not  ready  to  make  the  proper  start  on  its 
predestinated  career  of  greater  development.  Only  a  few  of  the 
manufacturers  had  the  broad  vision  for  such  a  perspective  as  this 


210  PIANOS  AND  THEIR  MAKERS 

combination  sclionio  offovod.  Besides,  an  unexpected  wave  of  pros- 
perity sneli  as  the  piano  iiidiisti-y  liad  never  before  experienced 
began  to  make  itself  felt  and  almost  everybody  was  perfectly  sat- 
isfied with  existing  conditions. 

In  the  light  of  the  marvelous  develo])inent  of  the  piano  trade 
since  1892,  the  above  related  efforts  are  of  historical  value. 

Like  all  other  large  industries,  the  piano  industry,  by  force  of 
conditions,  will  eventually  be  driven  to  the  economic  necessity  of 
combination  in  order  to  stay  in  the  i)rocession  for  industrial  de- 
velopment and  to  perform  its  duty  to  the  people,  providing  musical 
instruments  of  quality  at  lowest  cost  and,  furthermore,  to  take 
proper  care  of  its  wage  workers  by  providing  adequate  pensions 
for  them  when  their  economic  efficiency  comes  to  an  end.  The 
great  railroad  combinations,  the  Standard  Oil  Company,  the 
United  States  Steel  Corporation,  the  International  Harvester  Com- 
pany, the  packers  and  many  other  large  combinations  are  pursuing 
this  policy  as  a  part  of  the  duties  which  they  owe  to  the  people 
at  large.  Despite  all  the  opposition  by  sensational  writers  and 
unthinking  people  against  the  so-called  trusts,  the  fact  is  patent 
that  all  of  these  combinations  do  serve  the  public  better  than  it 
was  ever  served  before.  The  most  noticeable  illustration  is  found 
in  the  great  department  stores,  which  have  adopted  the  one-price 
system  in  their  piano  departments.  Their  example  will  eventu- 
ally force  every  piano  dealer  to  do  likewise. 


PART   THREE 

Men  Who  Have  Made  Piano  History 

CHAPTER  I 

Italy,  Giiiclo  of  Arezzo,  Spinnetti,  Geronimo,  Cliristofori,  Fischer, 
Sievers,  Roseler,  Mola. 

Germany,  Silbermann,  Stein,  Namiette  Stein,  Streiclier,  Bosen- 
dorfer,  Seuffert,  Ehrbar,  Schweigiiofer,  Heitzmann,  Tlie 
Ibacbs,  Ritmiiller,  Rosenkrantz,  Irmler,  The  Schiedmayers, 
Kaim  &  Giinther,  Dorner,  Lipp,  Wagner,  Pfeitfei',  Rohlfing, 
Knake,  Adam,  Heyl,  Vogel,  Lindner,  Meyer,  Mand,  Gebauhr, 
Thiirmer,  Steinweg,  Grotrian,  Zeitter  &  Winkehnaun,  Busch- 
mann,  Rachals,  Scheel,  Bliithner,  Ronisch,  Feurich,  Isermann, 
Weickert,  Poelihnann. 

England,  Shiidi,  Broadwood,  Collard,  Challen,  Hopkinson,  Brins- 
mead,  Chappell,  Eavestaff,  Squire,  Grover,  Barnett,  Poehl- 
mann,  Strohmenger,  Witton,  Allison,  Monnington  &  Weston. 


PART    THREE 

CHAPTER  I 

Men  Who  Have  Made  Piano  History 
Introduction 

ONE  of  the  remarkable  peculiarities  of  tlie  piano  industry 
is  the  great  value  of  an  established  name.  His  name  is 
the  piano  maker's  trade-mark,  and  that  concern  is  fortu- 
nate that  controls  a  name  which  is  impressive,  euphonious,  easy 
to  spell,  easy  to  pronounce,  easy  to  remember — in  short,  of  such 
a  character  that  it  cannot  be  easily  confounded  and  always  will 
make  a  lasting  impression. 

Shakespeare's  often  quoted  phrase,  "  What's  in  a  name?  That 
which  we  call  a  rose,  by  any  other  name  would  smell  as  sweet,"  does 
not  hold  true  in  the  piano  business.  The  maker's  name  on  a 
piano  carries  everlasting  responsibility  with  it.  But  this  is  not 
the  only  significance  of  the  maker's  name  on  a  x)iano.  Every 
piano  maker  who  loves  his  art  for  the  art's  sake,  is,  as  a  matter 
of  course,  a  man  of  pronounced  individuality,  and  he  impresses 
his  individuality  upon  his  creation.  Thus  it  comes  that  we  hear 
virtuosos  and  connoisseurs  speak  of  the  Erard,  the  Broadwood, 
the  Bliithner,  Steinway  or  Chickering  "  tone,"  signifying  that 
each  maker's  pianos  have  an  individuality  of  their  own  in  tone 
and  Idangfarhe.  This  individuality  is  so  carefully  guarded  that 
we    find    older    firms    always    reluctant   to    adopt    new    methods 

213 


214  PIANOS  AND  TIIEIPi  ^^FAKKRS 

of  construction  or  other  innovations.  They  fear  that  any  change 
mav  rob  tlieir  iiistniiiu'iit>  of  tlieir  most  cherished  individuality, 
their  cliaracteristic  tone  and  Idaugfarhe. 

Not  only  liie  lone  <jLialily  and  vohinie  rellect  tJie  maker's  indi- 
viduality, the  workmaiislii])  of  the  entii'c  i)iano  is  gnni-antood  ])y 
the  maker's  name,  and  his  name  will  live  or  die  as  his  instru- 
ments are  built  to  last  or  not.  Tlie  reputation  of  tlie  instrument 
whicli  a  piano  maker  produces  follows  him  beyond  his  grave,  often 
for  generations. 

Tn  <lue  appreciation  of  the  oversliadowing  importance  of  a 
proper  name  and  its  eonnnercial  value,  many  of  the  leading  mem- 
bers of  the  craft  did  not  hesitate  to  give  \\\\  their  family  name, 
no  matter  how  honorable  it  was  made  by  their  ancestors.  When- 
ever necessary  or  advisable,  they  changed  the  same,  so  as 
to  give  it  the  desired  distinction.  We  find  Burckhardt  Tschudi 
changing  his  name  to  Burkat  Shudi,  Ehrhardt  to  Erard,  Schu- 
macher to  Schomacker,  Steinweg  to  Steinway,  etc.,  and  (piite 
properly  so!  Would  not  an  unin'onouncea])le  name  on  the  fall 
board  kill  the  best  i)iano  as  a  eonnnercial  ])roposition?  Not  to 
think  of  its  impossibility  on  a  concert  ])rogram! 

Names  once  identified  with  a  good  piano  are  never  changed, 
-even  if  in  course  of  time  no  scion  of  the  founder  is  connected  with 
the  firm  or  corporation  making  the  })iano.  Neither  genius  nor 
talent  can  be  transferred  from  father  to  son,  or  grandson,  by 
mere  teaching  or  example.  Artists  are  born,  and  very  seldom 
do  following  generations  show  any  trace  of  their  })rogenitors'  in- 
born ability.  If  that  were  not  so,  we  would  have  more  Rafaels, 
Rubens,  Sliakes})eares,  Goethes,  Wagners  or  Darwins.  On  the 
contrai-y  t1ie  real  gem'us  usmilly  exhnusfs  his  tah^nts  during  his 
lifetime,  and  new  blood  has  to  be  injected  to  maintain  the  standing 
of  firms  founded  1)y  nu>n  who  ranked  far  above  their  contempo- 
raries.    Notable  exceptions  simply  prove  this  rule.     To  maintain 


MEX  WHO  I\rAKE  PIANO  HISTOEY  215 

the  exalted  position  of  a  leading  firm,  proper  respect  must  alwaj'S 
be  paid  to  the  honor  of  its  illustrious  founder  or  founders,  by 
unceasing  efforts  to  better  the  product  and,  with  due  rever- 
ence to  its  artistic  reputation,  to  improve  vohnne  and  (juality  of 
tone  in  harmony  with  its  fundamental  individuality.  This  refjuires 
genius,  and  wherever  artistic,  mechanical  and  commercial  genius 
are  combined,  success  is  inevitable.  Each  by  itself  may  make  a 
mark,  an  impression,  but  only  the  combination  of  the  three  under 
guidance  of  a  strong  mind  can  achieve  lasting  success  in  the  piano 
business.  The  history  of  the  piano  industry  from  its  beginning 
to  the  present  day  proves  that. 


Italy 

In  the  town  of  Arezzo  a  boy  was  born  toward  the  end  of  the 
10th  century  who  was  christened  Guido.  Intended  to  wear  the 
cloth,  Guido  was  sent  to  a  monastery  to  study  the  Holy  Book  and 
lead  a  life  of  abstinence  and  devotion,  but  Guido  had  a  soul,  and 
that  soul  was  full  of  music.  Books  did  not  interest  him  unless 
they  spoke  of  music.  He  invented  a  new  system  of  music,  so  revo- 
lutionary in  its  character  that  the  staid  old  monks  drove  Guido  out 
of  the  monastery. 

The  name  of  Guido  of  Arezzo  is  indelibly  marked  in  history, 
for  establishing  the  principle  and  system  of  notation  of  music. 
By  his  new  system  a  scholar  could  acquire  within  five  months  as 
much  knowledge  of  music  as  would  otherwise  require  ten  years 
of  study.  After  his  fame  spread  through  the  civilized  world 
Guido  was  called  back  into  the  fold  and  instructed  even  the 
Pope  in  his  new  method.  He  died  as  prior  of  Avellano,  May  17, 
1050. 

Correctly,  or  not,  Guido  is  also  credited  with  the  invention  of 
the  movable  bridge  on  the  monochord,  and  of  the  keyboard.     He 


216  riAXOS  AXl)  TIIKIU   MAKRRS 

was  so  great  a  genius,  so  strong  a  eliaraeter,  that  historians  of 
later  days  did  not  hesitate  in  crediting  to  liiin  all  the  progressive 
exciils  and  in\('nti(»n>  in  the  I'eahn  of  nnisic  happening  in  Gnido's 
time,  some  going  so  far  as  to  ascribe  to  him  even  the  invention  of 
the  claxichord. 

No  records  are  avaihd)le,  telling  ns  anvthing  regarding  the 
Venetian  (liovanni  Spinnetti,  wlio  invented  the  spinet  about  1503; 
noi-  of  Geroninio  of  Bologna,  who  gave  us  the  harpsichord 
in  1521,  but  the  instruments  of  these  two  makers  which  are 
still  in  existence  are  speaking  examples  of  their  genius  and 
talents. 

Padua  claims  the  honor  of  being  the  birthplace  of  Bartolomo 
Christofori,  but  in  1710,  when  27  years  of  age,  we  find  Christofori 
enjoying  an  easy  life  at  the  court  of  the  Duke  of  Tuscany  at 
i'lurence,  engaged  in  building  clavichords,  spinets  and  other  musi- 
cal instruments  for  the  ]U'ince  and  his  courtiers.  Whether  Chris- 
tofori aHowed  his  genius  to  drive  him  to  over-exertion,  or  wliether 
the  sybaritic  life  at  the  court  of  the  wealth}'  and  luxurious 
prince  shortened  liis  life  is  not  known;  he  died  in  1731  when 
only  48  years  old,  leaving  to  the  world  his  great  invention,  the 
piano  e  forte. 

Italy  has  not  produced  another  great  piano  maker  since  Chris- 
tofori. ]\rola  of  Turin  has  l)uilt  up  a  very  large  business  and  is 
to-dav  the  mainstav  of  the  industrv  in  his  countrv,  but  he  has 
not  gone  on  record  as  an  independent  constructor.  Roseler,  who 
also  founded  a  large  establislnnent  at  Turin  about  1850,  and  was 
appointed  by  the  King  of  Italy  a  cavalliero,  came  from  Berlin. 
The  genial  Sievers,  who  wrote  a  valuable  treatise  on  i)iano  con- 
struction and  established  a  factory  at  Naples  about  1865,  came 
from  St.  i'etersburg,  and  Carl  Fischer,  preceding  Sievers  at  Na- 
ples, came  from  Vienna.* 


Fischer's  sons  came  to  New  York  about  1S40,  founding  Uie  firm  of  ,T.  &  C.  Fischer. 


MEN  WHO  MAKE  PIANO  HISTORY  217 

Germany 

Gottfried  Silbermann,  born  near  Frauenstein,  Saxony,  January 
14,  1683,  served  his  apprenticeship  as  cabinetmaker  and  then 
studied  organ  building,  following  the  example  of  his  talented  elder 
brother  Andreas.  We  find  Gottfried,  about  1712,  at  Freiberg, 
Saxony,  erecting  fine  church  organs.  His  Bohemian  escapades 
compelled  him  to  leave  the  staid  old  Saxon  city  rather  hastily, 
to  seek  shelter  and  work  at  his  brother  Andreas'  atelier  at  Stras- 
burg.  His  weakness  for  the  gentler  sex  involved  him,  however, 
here  also  in  serious  affairs,  culminating  in  the  futile  effort  to 
escape  with  a  nun  from  the  convent,  and  he  liad  to  tramp  back 
to  far-away  Freiberg  after  a  stay  of  several  years  at  Strasburg. 
A  fine  mechanic,  as  illustrated  by  the  many  great  church  organs 
of  his  creation,  his  commercial  talents  were  no  doubt  even  stronger. 
Although  a  man  of  the  world,  a  great  entertainer  and  liberal 
spender,  he  accumulated  a  respectable  fortune.  In  his  art  he  was 
quick  to  adopt  the  inventions  of  others  and  thoroughly  understood 
the  value  of  clever  advertising.  Both  Gottfried  and  his  nephews 
at  Strasburg,  who  succeeded  their  father  in  business,  were  the 
first  in  the  piano  industry  who  effectually  resorted  to  reclame  to 
let  the  world  know  what  they  were  doing,  and  managed  to  get 
their  name  into  print  much  oftener  than  any  of  their  contempo- 
raries, which  has  led  many  a  historian  to  the  error  of  calling  Gott- 
fried the  inventor  of  the  piano,  or  the  hammer  action. 

Gottfried  Silbermann  died  in  1756,  having  erected  30  hirge 
church  organs  and  made  quite  a  number  of  pianos.  His  nephew, 
Johann  Daniel  Silbermann,  continued  the  business,  devoting  him- 
self to  the  making  of  grand  pianos  exclusively.  He  died  on  May 
6,  1766,  at  Leipsic,  having  no  successor.  The  Strasburg  branch 
of  the  Silbermann  family  continued,  however,  to  make  pianos  until 
the  death  of  Johann  Friedrich  Silbermann  on  March  8,  1817. 


218  PIANOS  AND  'VWVAU   .MAKKKS 

Joliaiiii  Andreas  SU'iii  liatl  a  creative  iiiiiid.  An  or,i;an  builder 
by  profession,  lie  learned  ))iano  inalvinu"  in  Gottfi'icMl  Silherniann's 
shop.  About  1754  Ik;  established  hiniseli'  at  Augsburg,  making 
pianos,  and  while  there  he  built  the  great  organ  in  the  Church  of 
St,  Francis.  In  1758,  seeking  a  lai'ger  fielc],  he  went  to  Paris,  tak- 
ing some  oi*  his  }»ianos  along,  but  the  gay  metropolis  was  appar- 
<'n1ly  not  ready  for  ])ianos.  i)isa])])ointed  and  ahnost  ])enniless 
Stein  returned  to  Augsburg,  wliei-e  lie  again  began  to  build  pianos. 
He  invented  the  "  hojjper  action  "  and  many  other  improvements. 

Mozart,  in  a  letter  to  his  mother,  pronounced  Stein's  ])ianos 
superior  to  any  others  that  he  had  played  upon.  Stein's  pianos 
were  coi)ied  everywliere,  esi)ecially  by  the  Vienna  makers,  so  that 
Stein  may  i-ightfnlly  be  called  the  father  of  the  Vienna  school. 
He  built  about  70()  ])ianos  and  several  church  organs.  He  was  born 
at  Ilildesheim  in  1728,  and  died  at  Augsburg,  February  29,  1792, 
in  his  (i4th  year. 

His  talented  daughter,  Nannette,  had  learned  the  art  of  piano 
making  under  her  father's  tutelage,  besides  being  an  accomplished 
])ianist.  She  played  in  concerts  and  had  also  ])layed  for  Mozart 
and  Beethoven.  Soon  after  her  father's  death  she  moved  to 
Vienna,  where  she  continued  the  l)usiness  with  her  brothers, 
Andreas  and  Friedrich.  In  1794  siie  nuirried  Johann  Andreas 
Streicher,  and  although  her  husband  soon  took  an  active  part,  the 
l)iano  business  was  carried  on  under  the  name  of  Nannette 
Streicher,  geb.  Stein,  until  1822,  when  her  son  doliaun  Baptist 
Streicher  was  admitted  to  ^partnership  and  the  firm  name  was 
changed  to  Nannette  Streicher  cK:  Solm. 

Johann  Andreas  Streidiei-,  born  at  Stuttgart,  on  December 
13,  17()1,  attended  the  renowned  Karl  Schule  at  Mannheim,  to- 
gether with  Friedrich  Schiller,  whose  fiiendship  he  retained 
ever  after.  Leaving  tlie  school  Streicher  devoted  liimself 
entirely  to  the  study  of  nmsic,  especially  the  i)iano,  and  gained 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  219 

renown  as  a  virtuoso,  composer  and  teacher.  It  was  but  natural 
that  Beethoven,  while  living  at  Vienna,  should  become  a  warm 
friend  of  such  congenial  people,  who  always  kept  open  house, 
and  assembled  the  celebrities  of  the  day,  such  as  Hummel,  Cramer. 
Moscheles,  Henselt  and  KuUak,  around  their  table.  This  friend- 
ship never  lessened  to  the  last  days  of  the  great  composer.  In- 
deed Nannette  exercised  a  motherly  care  over  that  "  great  child," 
Beethoven,  superintending  his  much  neglected  household  and  look- 
ing after  his  daily  wants.  In  1816  Nannette  built  for  Beethoven's 
special  use  and  by  his  request,  a  grand  piano  with  a  compass  of 
63/  octaves,  which  was  considered  (piite  an  accomplishment  in  tliose 
days.  Nearly  all  of  Beethoven's  compositions  were  created  on 
pianos  built  by  Nannette  Streicher.  She  closed  her  eventful  career 
by  passing  away  at  Vienna,  in  January,  1833,  her  husband  follow- 
ing her  in  May  of  the  same  year.  Their  son,  Johann  Baptist 
Streicher,  born  at  Vienna  in  1796,  continued  the  business  with 
great  success,  and  added  valuable  improvements,  so  that  the 
Streicher  pianos  achieved  w^orld-wide  reputation.  He  changed 
the  firm  name  to  J.  B.  Streicher  &  Sohn  in  1857,  when  his  son 
Emit  was  admitted  to  partnership.  The  latter  retired  from  busi- 
ness soon  after  his  father's  death  in  1871,  without  a  successor. 

Among  the  many  illustrious  names  which  gave  Vienna  its  pres- 
tige as  the  home  of  the  grand  piano,  that  of  Ignatz  Bcisendorfer 
stands  foremost.  Born  at  Vienna  in  1795,  a  pupil  of  Brodmann, 
he  established  his  business  at  Vieniia  in  1828.  After  30  years  of 
active  life,  during  which  time  he  added  many  valual)le  improve- 
ments to  the  development  of  the  piano,  he  retired  and  his  talented 
son  Ludwig  took  the  reins. 

Having  had  the  benefit  of  a  most  thorough  education  and 
extended  travels,  young  Bosendorfer  soon  became  a  factor  in  the 
piano  world,  and  made  his  pianos  known  far  beyond  the  boundaries 
of  his  home.    He  improved  on  the  piano  made  by  his  father,  ac- 


220 


PiAXoS  AND  THEIR  MAKERS 


ceptin,^-  modern  ideas  as  far 
as  liis  iiibuni  admiration  for 
the  "  Viciiiin  lone  "  would 
permit,  and  i)i-oduced  pianos 
wliicli  to  tliis  date  hold  their 
own  SLiL*ce:s.sfnlly  in  competi- 
tion with  other  celebrated 
makes. 

Appreciating  the  valu- 
able assistance  of  the  virtu- 
osos, Bosendorfer  erected  a 
concert  hall  In  1872.  Hans 
von  Billow  gave  a  recital  at 
the  opening.  Bosendorfer 's 
grand  })ianos  are  to  this  day 
the  favorite  instruments  of 
many  of  the  leading  virtuo- 
osos,  and  his  factory  ranks 
foremost  in  the  i)ro(luction  of  artistic  jjianos.  In  recognition 
of  his  services  to  the  industry,  the  Emperor  of  Austria  ajD- 
pointed  Bosendorfer  purveyor  to  the  court,  conveyed  the  title 
of  Tm])erial  Commercial  Counselor,  and  bestowed  tlie  decora- 
lion  of  the  "  Golden  Cross  of  Merit  with  the  Crown,"  uj)on  him. 

Eriediich  Ehrbar,  born  on  April  20,  1827,  in  Hanover,  was  an- 
other of  those  remarkable  men  who  carved  their  fortunes  out  of  the 
rock  of  ]»iivation  and  adversity.  When  two  years  of  age  a 
cholera  epidemic  took  from  him,  within  one  week,  his  father, 
mother  and  sister.  His  childhood  was  spent  in  a  home  for  orphans. 
Showing  a  decided  talent  for  music  as  well  as  mechanical  ability, 
when  still  a  schoon)oy,  by  making  guitars  for  himself  and  com- 
rades,    the     organ     builder,     Erederici     of    Hanover,     consented 


Ludwig  Bosendorfer 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


221 


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l^pi 

to  take  liim  as  an  ap- 
prentice. He  had  to  serve 
fully  seven  years.  Al- 
tliongli  after  that  his  mas- 
ter was  anxious  to  retain 
Ms  services  at  good  wages, 
Ehrbar  was  intent  on  go- 
ing to  Vienna,  the  high 
school  of  piano  making. 
In  1848  he  started  on 
his  journey.  He  went 
from  Hanover  along  the 
Rhine  to  Frankfort,  Nu- 
remberg and  via  Regens- 
burg  to  Vienna.  At  Han- 
over he  met  Henry  Stein- 
weg,  who  had  also  start- 
ed out  on  his  "  Wander- 

schaft,"  and  the  two  young  piano  makers  formed  a  lasting  intimate 
friendship.  Reaching  Vienna,  Ehrbar  was  so  captivated  with  the 
beautiful  "  Kaiserstadt,"  that  he  immediately  resolved  to  make  his 
home  there.  He  was  fortunate  in  finding  employment  with  that 
celebrated  master,  Seuffert.  Although  the  original  understanding 
was  that  he  should  serve  for  three  years  as  a  student  at  a  nominal 
wage,  he  proved  himself  such  an  adept  that  his  master  relieved  him 
from  this  obligation  after  the  first  nine  months.  His  further  prog- 
ress was  so  rapid  that  Seuffert  intrusted  him  in  1854-  with  the  pro- 
duction of  six  pianos  for  the  Munich  exposition  of  1855.  Ehrbar 
had  the  satisfaction  not  only  of  receiving  a  prize  medal,  but  further- 
more of  seeing  all  six  pianos  sold  at  the  exhibition. 

Seuffert  died  in  1855  and  Ehrbar  managed  the  business  until 
1857,  when  he  acquired  ownership.    At  the  AVorld's  Fairs  of  Lon- 


Friedrich  Ehrbar 


ooo 


PIANOS  AND  THEIR  ^lAKEKS 


Johannes  Adolf  Ibach 


doll  ill  18G2  and  Paris  iii 
1867,  Ehrbar's  pianos  were 
awarded  first  ])rizes.  The 
Emperor  of  Austria  honored 
him  witli  decorations  and  the 
tith'  of  i)urvey()r  to  the  court, 
and  at  the  V^ienna  Exposition 
of  1873  he  served  as  juror 
for  the  musical  instrument 
exhibits. 

Progressive  by  nature, 
Ehrbar  was  among  tlie  first 
of  the  Vienna  makers  who 
adopted  the  full  iron  frame 
for  all  of  his  pianos.  In 
1877  he  erected  the  Saal 
Ehrbar,  a  notable  addition 
to  the  concert  halls  of  Vienna.  He  retired  from  active  business  on 
January  1,  1898,  and  died  at  his  country  home  near  Vienna  on 
Eebruary  25,  1905,  in  his  seventy-eighth  year.  The  business 
is  continued  under  the  able  direction  of  his  son,  Friedrich 
Ehrbar, 

I.  M.  Schweighofer's  Sohne  is  Vienna's  oldest  fiirm. 
J,  Fritz  &  Sohn,  established  in  1801,  Karl  Dorr  in  1817,  Otto 
Heitzmann  and  Josef  Schneider's  Neft'e  in  1839,  are  all  builders  of 
good  pianos,  sustaining  the  time-honored  reputation  of  the  Vienna 
piano  industry. 

Following  the  good  old  German  custom  to  go  ''  wandern," 
that  is,  to  travel  for  a  number  of  years  on  foot  from  country  to 
country,  stopi)ing  for  a  while  at  a  city  wherever  an  acknowledged 
"  master  of  the  craft  "  had  his  domicile,  to  learn  and  to  earn, 
young  Johannes  Adolf  Ibach  left  the  monastery  of  Beyenburg, 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


223 


just  as  soon  as  his  education 
was  completed.  He  studied 
organ  and  piano  making 
with  several  of  the  best  mas- 
ters of  Germany,  and  re- 
turned to  his  home  a  master 
of  the  art.  He  was  in- 
trusted with  the  remodeling 
of  the  great  organ  at  Beyen- 
burg  and  did  such  excellent 
work  that  his  standing  as  a 
master  was  at  once  estab- 
lished. Like  most  organ 
builders  of  those  days,  he 
longed,  however,  to  build 
pianos,  that  instrument 
which    had    taken     such     a 


Carl  Rudolf  Ibach 


a  strong  hold  and  promised  a  much  greater  tield  for  invention 
and  business  expansion  than  the  church  organ.  We  find  him, 
therefore,  soon  giving  his  entire  attention  to  pianos.  He  knew 
how  to  build  them,  and  in  spite  of  the  great  depression  in  business, 
caused  by  the  Napoleonic  wars,  Ibach 's  business  grew  steadily, 
unfortunately,  however,  undermining  the  health  of  the  indefati- 
gable worker,  so  that  at  the  age  of  59,  he  had  to  give  his  business 
into  the  hands  of  his  eldest  son,  Carl  Rudolf  Ibach,  who  was  then 
only  21  years  of  age.  The  young  man  filled  his  place  well,  and  from 
1825  dates  the  rise  of  the  house  of  Ibach.  To  find  a  greater 
market  for  his  product  and  to  enrich  his  knowledge  of  the  world  and 
business,  young  Ibach  took  to  travel  whenever  he  could.  He  visited 
France  and  Spain,  and  never  lost  an  opportunity  to  attend  the 
then  just  inaugurated  expositions  and  fairs,  oftentimes  putting 


224 


PIAXOS  AXD  THEIR  MAKERS 


liis  pianos  in  competition 
with  otliers  and  always  re- 
warded with  the  eustoiuary 
honors, 

Ijike  liis  father,  he  sacri- 
ficed liis  liealth  for  liis  am- 
bition, and  died  at  Barmen, 
April  25,  1868,  leaving  the 
care  of  his  business  upon 
the  shoulders  of  his  son, 
Rudolf  Ibach,  who  changed 
the  firm  name  to  Rudolf 
Ibach  Sohn.  Although  only 
20  years  of  age  when  his 
father  died,  young  Rudolf 
inaugurated  a  most  aggres- 
sive cami)aign,  just  as  soon 
as  he  had  found  his  bearings.  He  was  an  excejitionally  strong- 
character,  a  genius  in  many  ways,  artistic  in  his  inclinations 
and  desires.  He  soon  developed  a  commercial  keenness  and 
foresight,  which,  coupled  with  the  daring  born  of  faith  in  his 
own  strength  and  al)ility,  brought  astounding  results,  and  in 
a  few  years  under  Rudolf's  leadershi})  the  factory  had  to  be  en- 
larged to  meet  the  growing  demand  for  Ibach  i)ianos.  In  his 
extended  travels  he  came  in  contact  with  the  leading  musicians 
and  comi)osers  of  his  day.  Himself  a  very  magnetic  and  interest- 
ing man,  he  drew  others  to  him.  Richard  AYagner  honored  him 
by  d(Mlicating  a  lil'e-size  i)hotogra})li  with  the  inscription  "  Seinem 
freundlichen  Tongehilfen  Rudolf  Ibach  dankbarlichs  Richard  Wag- 
uei-,  1882."  AVhat  a  strong  indorsement  of  the  piano  maker,  Rudolf 
Ibach ! 


Tvudolf  llKu-h 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


225 


Liszt,   Sauer,   aud  many 
other  virtuosos  have  played 
the    Ibach    grands.     Rudolf 
Ibach  was   not   satisfied   to 
serve    art    only    as    "  Ton 
Gehilfe."     With  his  resist- 
less   energy    he    started    a 
campaign  to  give  his  pianos 
an     artistic     exterior     and 
called    on    the    masters    of 
decorative    art    for    assist- 
ance.   In  1883,  and  again  in 
1891,  he  invited  competitive    f 
designs    for    artistic    piano    i 
cases,     awarding     adequate    | 
cash  prizes  to  the  winners,    ^ 
so    that    the    leading    archi- 
tects  of   Germany   found   it 

worth  their  while  to  participate.  It  was  not  only  the  benefit  of 
obtaining  exquisite  designs  for  the  Ibach  pianos  which  resulted 
from  this  enterprising  movement;  it  reached  farther  and  impelled 
other  piano  makers  to  follow  Ibach 's  example. 

Foresightedness  was  one  of  Ibach 's  characteristics.  While  he 
was  occupied  in  expanding  his  business  in  all  directions,  he  sent 
his  younger  brother,  Walter  Ibach,  into  the  world  to  study  the 
methods  of  other  piano  makers.  W^alter  went  to  Brussels,  then 
spent  considerable  time  at  Gaveau's  atelier  in  Paris  and  prepared 
himself  at  London  for  his  American  visit,  where  he  was  for  several 
years  active  in  George  Steck's  factory.  He  also  studied  felt  and 
hammer  making  in  the  author's  factories  at  Dolgeville,  N.  Y. 
After  an  absence  of  nearly  10  years,  Walter  Ibach  returned  to 
Barmen  in  1883,  a  master  of  his  art,  to  assist  his  brother  Rudolf, 


J.  G.  Irmler 


22(J 


PIANOS  AND  TIIEIK  MAKERS 


whose  duties  and  cares  liad 
i;i-()\vii  almost  beyond  one 
mail's  endurance.  Like  his 
lather  and  grandfather,  Ru- 
(h)ir  Ibach  had  gone  bej^ond 
his  strengtli,  and  passed 
a  way  at  the  early  age  of  -to 
years,  on  July  31,  1892. 
The  great  business  which  he 
built  up  is  carried  on  by  his 
sons,  under  the  guidance  of 
tlieir  uncle,  Walter  Ibach. 

In  1795  Andreas  Georg 
Eitmiiller  began  making- 
pianos  at  the  old  uniyersity 
town  of  Gottingen.  It  is  not 
known  where  he  learned  his 
trade,  but  his  i)ianos  were 
well  Itnilt  and  the  business  founded  by  him  has  continued  with 
marked  success  to  the  present  day. 

Ernst  IMiilip  Kosenkrantz,  born  July  10,  1773,  served  his  ap- 
prenticeshij)  with  neinrich  Ludolf  Mack  of  Dresden,  and  started 
on  his  own  account  in  1797.  His  son  Friedricli  Wilhelm  succeeded 
him  after  his  death  in  1828.  He  gained  a  worldwide  reputation 
for  his  instruments,  doing  esjiecially  a  large  export  business  to 
North  America.  The  firm  has  maintained  its  rejnitation  for  high 
grade  instruments  and  enjoys  an  enyiable  position  among  the 
Dresden  makers  of  to-day. 

IJorn  at  (Jbergrumbach  near  Dresden,  Johann  Christian  Gott- 
lieb Frmler  studied  ])iano  making  with  the  masters  at  Vienna  and 
came  to  Eeipsic  in  ISjS,  wiiere  he  founded  the  house  of  J.  G. 
Irmler.     He  built  yery  good  grand,  sciuare  and  ui)riglit  pianos, 


Oswald  Irmler 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


227 


and  some  of  bis  earliest  pro- 
ductions can  be  found  at  tlie 
Germanic  Museum  in  Nu^ 
remberg.  Enterprising  to 
an  unusual  degree,  Irmler 
saw  his  small  shop  grow  into 
a  large  industrial  establish- 
ment, and  his  pianos  sold  in 
all  parts  of  the  globe.  He 
died  December  10,  1857.  His 
sons,  Otto  and  Oswald  Irm- 
ler, had  gone  through  the 
school  of  piano  making  in 
the  leading  shops  of  Vienna, 
Paris  and  London,  and  as- 
sumed the  management  after 


i;jT^SEi-;'-K5>«i^ 


Johaiin  David  Schiedmayer 


their    father's    death.     The 
young  men  introduced  steam- 
driven  machinery  in  their  works  in  1861,  probably  as  the  first  in  the 
piano  industry  of  Germany.     Otto  Irmler  died  October  30,  1861, 
at  the  age  of  41,  and  the  management  fell  to  the  younger  brother, 
Oswald,  then  only  26  years  of  age. 

For  44  years  Oswald  Irmler  directed  the  destiny  of  the  time- 
honored  firm  with  marked  ability  and  success,  taking  his  sons, 
Emil  and  Otto,  in  partnership  in  1903,  He  died  October  30,  1905, 
leaving  an  establishment  to  his  sons,  which  ranks  among  the  best 
in  Germany. 

The  firm  of  J.  G.  Irmler  has  been  honored  by  the  appointment 
as  purveyors  to  the  courts  of  the  Emperor  of  Austria,  the  Kings 
of  Wurtemburg,  Sweden,  Eoumania,  and  other  potentates,  and  re- 
ceived distinguished  awards  for  its  products  wherever  exhibited. 


228 


PIANOS  AND  THEIR  MAKERS 


Leading-  virtuosos  such  as 
lUilow,  Friedlieim,  lienselt, 
Felix  Mendelssohn,  Sofie 
Menter,  Carl  Reinecke  and 
others,  have  used  the  Irmler 
grand  pianos  in  their  con- 
certs. 

It  is  not  known  of  whom 
Balthasar  Sehiedniayer,  born 
in  1711,  learned  his  art,  but 
he  built  his  first  grand  piano 
at  Erlangen  in  1735.  He  died 
in  1781  and  was  succeeded 
by  his  son,  Johaun  David 
Sehiedniayer,  who  was  hon- 
ored by  the  appointment  of 
piano  maker  to  the  Elector  of 
Brandenburg.  He  removed 
to  Nuremberg,  continuing  there  with  great  success  until  his  death 
in  1806.  His  son,  Johann  Lorenz  Sehiedniayer,  sought  a  larger 
field  for  his  activities  and  we  find  him  in  1809  located  at  Stutt- 
gart, laying  the  foundation  for  one  of  the  most  renowned  firms 
of  Germany.  In  1845  he  admitted  his  sons,  Adolf  and  Hermann, 
to  partnership,  changing  the  firm  name  to  Schiedmayer  &  Sohue. 
Always  progressive,  this  firm  jiroduced  upright  pianos  as  early 
as  1842.  At  tlie  World's  Fair  in  London  in  1851,  their  product 
carried  off  the  gold  medal,  and  in  1881  Adolf  Schiedmayer  re- 
ceived the  title  of  "  Counselor  of  Commerce  "  from  the  King  of 
Wurtemburg.  Adolf  Schiedmayer  died  in  1890,  and  his  brother 
Hermann  in  1891.  Adolf,  Jr.,  born  in  1847,  is  the  present  head  of 
the  house,  maintaining  the  honored  traditions  with  great  success. 


Johann  Lorenz  Sehiedniayer 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


229 


He  wears  the  title  of 
''  Privy  Counselor  of  Com- 
merce "  and  is  also  presi- 
dent of  the  Piano  Manufac- 
turers' Association  of  Ger- 
many. The  firm  is,  by  ap- 
pointment, purveyor  to  the 
courts  of  Wurtemburg  and 
Eoumania. 

The  younger  sons  of 
Johann  Lorenz  Schiedma3^er, 
Julius  and  Paul  Scliied- 
mayer,  devoted  themselves 
exclusively  to  the  building 
of  harmoniums.  They  spent 
several  years  at  London  and 
more  especially  at  Paris  with 
Debain  and  Alexander,  and 

established  themselves  in  Stuttgart  in  1853  under  the  firm  name  of 
J.  &  P.  Schiedmayer.  They  produced  most  excellent  instruments, 
improving  upon  the  products  of  the  French  masters,  but  since  the 
upright  piano  began  to  crowd  the  harmoniums  from  the  markets,  J. 
&  P.  Schiedmayer  were  forced  to  begin  the  manufacture  of  pianos  in 
1860,  and  finally  changed  their  name  to  the  "  Schiedmayer  Piano- 
fabrik."  They  soon  achieved  great  prominence,  being  among  the 
first  makers  of  Germany  to  adopt  the  overstrung  system  and  full 
iron  frame.  In  course  of  time  the  firm  was  appointed  purveyor 
to  the  courts  of  the  Emperors  of  Germany,  Eussia  and  Austria, 
the  Queen  of  England  and  the  Kings  of  Wurtemburg,  Bavaria, 
Italy,  Spain,  Roumania,  etc.  Distinguished  by  the  award  of  45 
diplomas   of  honor  and  prize  medals,   at   the  fairs  where  their 


Adolf  Schiedmayer 


230 


riAXOS  AXD  THEIR  MAKERS 


pianos  were  exhibited,  the 
fii'in  was  awarded  tlie  i»"rand 
l)iize  at  the  World's  Fairs 
of  Paris  in  11)00  and  St. 
Louis  in  1904. 

Julius  Schiedniayer  was 
ajipointed  Counselor  of 
Commerce  by  the  King  of 
^\'lll•t('nll)urg,  and  chosen  as 
juror  of  the  piano  exhibits 
at  the  World's  Fairs  of 
London,  1862;  Stettin,  186-1; 
Paris,  1867;  Vienna,  1873; 
and  Philadelphia,  1876.  lie 
also  received  decorations 
from  the  Emperor  of  Aus- 
tria and  the  Kings  of  Wur- 
tem])urg  and  Italy,  in  recog- 
nition of  his  valuable  services.  He  died  at  Stuttgart,  January, 
1878,  his  brother  Paul  following  him  in  189L 

Under  the  energetic  guidance  of  Paul's  son,  Max  Schied- 
mayer,  the  renowned  fii-m  is  constantly  adding  to  its  pres- 
tige and  honor.  Like  his  illustrious  uncle  and  father.  Max 
Schiedmaver  has  served  as  iuror  at  exhibitions,  notablv  at 
the  great  World's  Fair  of  Chicago  in  1893,  and  at  Brussels  in 
1910. 

In  1819  Kaim  &  Giinther  began  to  make  ])ianos  at  Kirchheim 
near  Stuttgart,  building  up  a  large  business.  The  firm  was  even- 
tually dissolved,  the  grandson  of  Kaim  doing  Imsiness  under  the 
firm  name  of  ''  Kaim  &:  Solm."  (liinther's  sons  adojited  the 
firm  name  of  "  Giinther  &  Sohne."  The  latter  liave  the  appoint- 
ment as  the  purveyors  to  the  court  of  Wurtemburg. 


llcrmunn   Scliiodiuaver 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


231 


Among  the  noteworthy      "v'^"-":.  v     ■■^-^?''--;^:-:^^'^^^ 
firms  of  Stuttgart  must  be 
mentioned     F,     Dorner     & 
Sohn,   established   in  1830, 
Eichard   Lii)p   &    Sohn,    in 
1831    and   Hermann   Wag- 
ner in  1844.     The  firm  of 
A.  J,  Pfeiffer  was  founded 
in  1862.     The  present  head 
of  the  house,  Carl  J.  Pfeif- 
fer, has  devoted  much  atten- 
tion to  the  construction  of 
IDedal  pianos  for  pedal  prac- 
tice of  organ  players.     He 
has   also  been  very  indus- 
trious in  collecting  models      --^^i^* 
of    piano    actions    for    tlie 
Royal    Museum    at    Stutt- 
gart, and  has  assembled  there  the  most  complete  collection  of  piano 
actions  in  existence.     In  recognition  of  his  services  Pfeiffer  has 
been  appointed  purveyor  to  the  court  of  Wurtemburg,  and  also 
Royal  Counselor  of  Commerce. 

Germany  can  boast  of  a  long  list  of  old  established  houses  in 
all  parts  of  its  domain.  The  house  of  Gebriider  Rohlfing  of  Osna- 
briick  dates  back  to  1790.  H.  Pfister  started  at  Wiirzburg  in  1800 ; 
Gebriider  Knake  of  Miinster  in  1808.  In  the  year  1828  Gerhard 
Adam  of  Wesel,  G.  L.  Nagel  of  Heilbronu,  Ritter  of  Halle,  G. 
Heyl  of  Borna,  and  I.  G.  Vogel  &  Sohn  of  Plauen,  commenced 
business.  I.  P.  Lindner  of  Stralsund  made  his  first  piano  in 
1825,  and  Meyer  &  Company  of  Munich  in  1826.  In  1832  Carl 
Mand  began  his  career  at  Coblenz,  and  in  1834  C.  J.  Gebauhr 
had  the  courage  to  establish  himself  at  Konigsberg,  on  the  far 


Julius  Schiedmayer 


232 


iMAXoS  AX  I)  TrTETR   MAKERS 


eastern  burder  oi'  Ger- 
many. Til  tlio  same 
year  Ferdinand  Tliiirmer 
opened  liis  slio])  in  Meis- 
sen, to  he  t'ollowcd  a  year 
later  Ijv  ileinricli  Kiiii'el- 
liardt  Steimvcij'  at  Seesen. 
His  son  Tlieodor  Steinweg' 
I'cinoN'ed  liis  l)iisiiiess  to 
iji'imswiek,  ai'tcr  the  elder 
Steinwoti'  left  with  his 
family  for  America  in 
1850. 

Joining'  in  ISfi,")  tlie 
meantime  established  iirni 
of  Stein  way  »S:  Sons  in 
New  York,  Theodor  Stein- 
weg sokl  his  business  to 
three  of  his  workingmen,  Grotrian,  Helfferieh  and  Selinlz,  who 
ado])t(Ml  the  firm  name  of  Tlieodor  Steinweg  Naehfolger.  This  firm 
ranks  to-day  among  the  foremost  of  Germany  under  the  able  man- 
agement of  W'ilhelm  Grotrian  and  his  sons. 

Traugott  Rerndt  started  in  Breslan  in  IS.'UI,  and  the  higlily 
resi^eeted  iirm,  Zeilter  &  AVinkelmann  of  Brunswick  in  1837. 

In  Hamburg,  Gustav  Adolpli  Buschmann  commenced  making  pi- 
anos as  early  as  1805.  :\lathias  I'erdinand  J\achals  followed  in  1832. 
Eachals,  born  at  Mitau,  June  3,  1801,  had  studied  with  Brix  of 
St.  Petersburg  and  Sachsossky  of  Cassel.  His  ])ianos  were  of  the 
highest  order,  and  he  was  especially  successful  in  constructing  a 
detachable  piano  for  tropical  countries.  Eachals  died  Sei)tember 
6,  ISGC.  and  was  succeeded  by  his  son,  Eduard  Ferdinand,  who 
continued  to  spread  the  fame  of  the  firm.    Born  at  Hamburg,  May 


I'aul  Schicilmavor 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


233 


Mathias  Ferdinand  Rachals 


4,  1837,  he  learned  piano 
making  in  his  father's  shop, 
and  afterward  studied  in  the 
leading  factories  of  Paris, 
London  and  Ziirich.  Rachals 
possessed  a  most  artistic 
temperament,  played  the 
piano  to  perfection  and  en- 
joyed practicing  on  brass  in- 
struments, playing  classic 
quartets  with  friends  for  his 
own  amusement.  The  busi- 
ness prospered  under  his 
able  management  until  death 
ended  his  usefulness.  He 
passed  away  April  24,  1902. 
His    son    Adolf    Ferdinand 

went  to  the  United  States  in  1892,  where  he  worked  in  several 
of  the  prominent  piano  factories,  including  a  long  stay  at 
Dolgeville,  N.  Y.,  for  the  study  of  hammer  making.  At  the  World's 
Fair  of  Chicago  in  1893,  M.  F.  Rachals  &  Company  received  a 
special  diploma  for  their  excellent  instruments.  Adolf  Ferdinand 
Rachals  succeeded  his  father  in  1902. 

Carl  Scheel  of  Cassel  worked  for  Erard  from  1837  to  1846, 
during  the  later  years  as  superintendent.  He  had  learned  so 
much  in  Paris  that  his  business,  founded  in  1846,  was  a  success 
from  the  start.  An  acknowledged  master  of  his  art,  he  attracted 
many  young  men,  desirous  of  studying  under  him,  among  whom 
Georg  Steck  later  made  a  name  for  himself  in  New  York. 

A  most  remarkable  success,  achieved  in  a  comparatively  short 
time,  assures  Julius  Bliithner  a  prominent  place  in  history.  Born 
March  11,  1824,  at  Falkenhain,  he  learned  his  trade  with  Holling 


234 


PDVXOS  AND  TIlEiK  MAKERS 


Kdward  FcTclinand  Rachals 


»S:  S[)angc'iiberg'  of  Zeitz,  and 
stiulied  iiiulor  Alexander 
BrotscliiR'ider,  the  renowned 
builder  of  grand  jtianos,  at 
Jjcipsie,  until  1S5.'>,  when  lie 
started  in  ])usiness  on  liis 
own  account.  Handicapped 
1)\'  lack  of  a  l)i'oad('r  educa- 
tion, Bliithner  liad  to  dig  his 
way  to  in'oniinence.  He 
was  fortunate  in  tlie  i)OS- 
session  of  a  highly  de- 
veloped sense  of  hearing, 
and  it  is  said  that  in  later 
years  no  one  in  his  exten- 
sive establishment  could 
"  voice  "   a  piano   so   accu- 


rately as  he. 
Ambitious  to  contribute  something  more  to  his  art  than  mere 
industrial  acli\ity,  Bliithner  made  many  experiments  to  improve 
the  ]nano.  Tn  oi'der  to  enhance  the  volume  and  singing  quality 
of  tone  in  the  upper  octaves,  he  revived  Hans  Euckers'  fourth 
string  system,  calling  his  device  the  "  Alicpiot  System."  He  also 
invented  a  grand  action.  Calling  to  his  aid  able  young  men  of 
literary  ability,  Bliithner  used  })rinter's  ink  to  great  advantage 
and  his  fine  instruments  soon  found  a  market  in  all  (piarters  of 
llic  globe,  so  that  his  production  in  1SS2  had  risen  to  an  annual 
outi)ut  of  1200  grand  and  1800  upright  i)ianos.  Bliithner  pub- 
HsIkmI.  ill  conjunction  with  Gretschel,  a  treatise  on  piano  making, 
of  which  several  editions  have  been  sold.  The  King  of  Saxony 
honored  him  witli  tlie  appointment  of  Privy  Counselor  of  Com- 
merce, and  he  also  received  decorations  from  his  King,  the  Duke 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


235 


of  Saxe-Coburg  aud  the 
Grand  Duke  of  Mecklen- 
burg-Scliwerin.  He  died 
at  Leipsic  in  1910  in  his 
eighty-seventh  year. 

None  of  the  modern 
makers  of  Germany  has 
done  as  much  to  procure 
for  the  German  piano  the 
prominence  which  it  en- 
joys at  the  present  time 
as  Carl  Bechstein.  Born 
at  Gotha  on  June  1,  1826, 
Bechstein  was  imbued 
with  all  the  poetic  and 
musical  instinct  so  typical 
of  the  Tlmringians.  It 
was  natural  that  he  should 

choose  piano  making  for  a  profession,  and  so  proficient  had  he 
become  that  at  the  age  of  22  he  was  given  the  responsible  position 
of  managing  the  business  of  G.  Perau,  one  of  Berlin's  best  known 
makers  of  that  time.  After  four  years'  faithful  service  wanderlust 
got  the  better  of  Bechstein,  and  we  next  find  him  at  London,  later 
at  Paris,  studying  under  that  genial  empiric,  Pape,  and  getting  an 
insight  into  modern  business  methods  with  Kriegelstein. 

Equipped  with  new  experiences  in  piano  making,  a  thorough 
knowledge  of  Parisian  commercial  tactics,  enriched  with  broader 
views,  world-wise,  Bechstein  returned  to  Berlin  and  built  his  first 
grand  piano  in  1856.  A  man  of  the  world,  amiable,  even  magnetic 
to  a  certain  degree,  he  easily  attracted  artists  and  litterateurs  to 
himself,  gaining  thereby  a  publicity  which  redounded  largely  to 
the  ever-increasing  prosperity  of  his  business.     Carl  Bechstein 


236 


PIANOS  AND  THEIR  MAKERS 


received  numerous  decora- 
tions, both  rrom  liis  King 
and  Ein])oror,  as  vroW  as 
other  rulers,  and  was  ap- 
pointed imrveyor  to  the 
courts  of  nearly  all  the  reign- 
ing enii)erors  and  kings  of 
Eni"o])e.  He  died  at  Berlin 
in  1908  at  the  age  of  82. 

Among  the  many  firms 
tliat,  during  the  past  50 
years,  have  heen  more  or  less 
active  in  expanding  tlie  piano 
industrv  of  Germanv,  C 
Weidig  of  Jena,  founded  in 
1843;  Carl  Roniscli  of  ])res- 
den,  founded  in  1845;  and 
Julius  Feuricli  of  Leipsic, 
established   in   1S51,  deserves   special  mention, 

Carl  Rbnisch,  born  at  Goldberg,  Silesia,  in  1814,  experienced 
all  tlie  ])rivations  of  ])Ovei-ty  in  his  youth,  but  his  inborn  talent  and 
determination  finally  got  the  better  of  adverse  conditions.  With- 
out ca])ital,  but  having  unlimited  faith  in  his  aliility,  he  began  to 
make  ])ianos  at  Dresden  and  in  time  had  the  satisfaction  of 
shi])ping  the  ])roduct  of  his  factory  to  all  parts  of  the  globe.  In- 
deed, Roniscli  was  one  of  the  pioneers  in  exporting  German  pianos. 
His  grands  and  u])rights  became  so  popular  in  Russia,  that  he 
found  himself  compelled  to  erect  a  factory  in  St.  Petersburg.  Re- 
warded with  highest  awards  at  all  expositions,  wherever  his  pianos 
have  been  exhibited,  Roniscli  was  also  personally  honored  with 
decorations  of  <listinction,  and  appointed  purveyor  to  the  Court 
of  Saxony.    He  died  July  21,  1893,  at  the  age  of  80.     The  great 


Carl  Bechstein 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


237 


business  is  successfully  car- 
ried on  by  his  sons,  who 
have  been  his  associates  for 


many  years. 

There  are  a  large  num- 


Carl  Ronisch 


ber  of  aggressive  young 
firms  in  Grermany,  making 
history,  inspired  by  the 
glorious  records  of  the  older 
houses,  but  it  is  not  the 
jDrovince  of  this  work  to 
dwell  upon  j^resent  and 
future. 

In  the  supply  industries 
Germany  has  produced  three 
self-made  men  who  assumed 
the  leadershij)  in  their  re- 
spective branches  from  the  day  they  entered  the  arena.  The  piano 
industry  is  indebted  to  L.  Isermann,  Moritz  Poehlmann  and  August 
Moritz  Weickert  for  furnishing  actions,  wires  and  felt  of  such 
quality  as  to  make  the  perfect  piano  of  the  present  day  a 
possibility. 

I.  C  L.  Isermann,  born  on  July  1,  1813,  near  Hanover,  served 
Ms  apprenticeship  as  a  cabinetmaker,  and  shortly  thereafter 
traveled  on  foot  through  Germany,  Italy,  Switzerland  and  Bel- 
gium, working  at  his  trade  in  most  of  the  larger  cities.  About 
1835  he  landed  in  Paris,  the  mecca  of  all  young  German  artisans 
of  that  time.  He  found  emplo^Tuent  in  one  of  the  piano  action 
factories.  Just  as  soon  as  he  had  mastered  that  art  he  made  fur- 
ther studies  in  other  factories  to  become  familiar  with  the  various 
models  of  actions  then  in  use  and  the  different  methods  of  manu- 
facturing.    Thoroughly  grounded,  he  returned  to  the  Fatherland 


2.38 


PIAXOS  AXD  TIIEIK  MAKERS 


and  ill  1S4"J  slartcil  the  first 
))iano  action  factory  in  Ger- 
many al  liambuig.  It  was  an 
innovation  and  soeniod  a  hold 
niulertaking,  because  up  to  that 
time  all  i)iaii()  makers  in  Ger- 
many made  llicir  actions,  fol- 
hjwing'  their  own  notions  re- 
garding construction.  Iser- 
iiiaiin  demonstrated  at  once, 
that  he  could  i)roduce  a  better 
action  Tor  less  money  than  the 
]iiano  maker,  and  his  busi- 
ness prospered  far  beyond  his 
expectations.  His  success  was 
so  remarkable  that  it  invited 
competition.  Very  soon  all 
piano  makers  (piit  producing  their  own  actions,  and  the  piano 
action  industry,  founded  by  Isermann,  spread  to  all  the  leading- 
manufacturing  centers  of  Germanv.  Because  of  the  reliabilitv  and 
excellent  workmanship  of  his  goods,  the  honesty  and  integrity 
of  his  dealings,  Isermann  always  had  more  business  offered  to 
him  than  he  could  take  care  of,  although  his  establishment  had 
been  constantly  enlarged,  eventually  employing  about  550 
persons. 

In  187U  his  son,  C.  W.  Isermann,  assumed  manage- 
ment, and  in  1904  young  Ludolf  Isermann,  the  grandson, 
joined  the  firm.  I.  C.  L.  Isermann  died  on  November  5, 
1898,  in  his  eighty-fifth  year,  having  made  his  strong  mark 
as  a  captain  of  industry  in  a  field  created  by  himself.  C.  W- 
Isermann  died  on  December  29,  1900,  in  his  sixty-first 
vear. 


J.  C.  L.  iseriiinim 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


239 


Harassing  labor  condi- 
tions impelled  Ludolf  Iser- 
mann  to  leave  Hamburg  and 
join  the  firm  of  F.  Langer  & 
Company  of  Berlin,  perpetu- 
ating the  work  of  his  il- 
lustrious grandfather  and 
father,  under  most  favor- 
able and  promising  auspices. 
Although  established  only 
since  1882  the  firm  of  Langer 
&  Company  enjoys  a  most 
enviable  reputation  for  the 
high  quality  of  its  products 
and  controls  one  of  the 
largest  establishments  of  its 
kind. 

I.  D.  Weickert,  born  Au- 
gust 23,  1751,  the  fourth  son 

of  a  family  of  11  children,  learned  the  profession  of  an  optician, 
and  established  himself  at  Leipsic  in  1783.  Thrift  and  indus- 
try soon  brought  prosperity,  with  greater  promises  for  the  future. 
AVhen  the  Napoleonic  wars  devastated  Germany,  paralyzing  busi- 
ness for  many  years,  Weickert 's  hard-earned  savings  gradually 
disappeared  and  he  and  his  family  often  had  to  sutfer  indescrib- 
able hardships.  These  sufferings,  worry  and  anxiety  finally 
caused  the  untimely  death  of  this  energetic  man  in  1816. 
He  left  his  family  almost  in  poverty,  but  the  era  of  peace  was 
dawning  in  Europe,  and  although  only  15  years  of  age, 
the  son,  August  Moritz,  together  with  his  most  remarkable 
mother,  hung  on  to  what  little  there  was  left  of  his  father's 
business. 


y(iAG(^<^^(>c/()-^/J::i^_,.  /p^uU'ifjtY^ 


240 


PIANOS  AND  TIIEIK  MAKEKS 


After  the  optical  busi- 
ness was  re-estal)lishe(l,  so  to 
s})eak,  tlic  yoimg  man  addetl 
tlie  sale  of  hardware  and 
i;radually  built  uj)  a  repu- 
tation for  liis  firm.  Wiien 
he  beeame  personally  ae- 
([uaiiited  with  the  renowned 
Engiisli  tool  maker,  Stubbs, 
(hiring  the  hitter's  visit  to 
Leipsic,  lie  iiiiprovcd  his  op- 
portunity to  open  up  direct 
business  connection  with  this 
English  firm  and  thus  laid 
the  foundation  for  the  great 
•  hardware  business,  which 
under  his  jiersonal  manage- 
ment, extending  over  (iO 
years,  grew  to  magnificent  proportions. 

In  1847  F.  W.  Patzschke,  a  hatter  by  trade,  had  made  some 
experiments  in  })roducing  tapered  felt  for  piano  hammers.  Lack- 
ing capital,  he  appealed  to  the  merchant,  Weickert,  who  agreed 
to  make  the  necessarv  advances.  For  several  vears  the  results 
were  so  disappointing  that  Patzschke  became  discouraged  and 
forced  Weickert  to  assume  control  and  management.  Weickert  se- 
cured the  services  of  his  old  i)artner's  son,  C.  W.  Patzschke,  as 
manager  of  the  factory  and  pushed  the  business  energetically. 
AVitli  keen  foresight  he  anticipated  the  great  future  in  store  for 
this  new  industry  and  re-invested  all  the  profit  for  years  in  new 
machinery  and  improved  buildings,  aiming  always  to  produce  the 
best  felts  that  could  be  made.  For  many  years  Weickert  enjoyed 
a  monopoly  for  his  product.    Other  factories  were  started  in  Ger- 


C.  W.  Patzschke 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  241 


-'sra-v-/..- »'.-,- r-vr-,.i 


many,  following  in  "Weick- 
ert's  footsteps  as  mncli  as 
possible,  but  Lis  business 
continued  to  grow,  in  spite 
of  competition,  and  enjoys 
to-day  a  position  as  undis- 
puted leader  in  the  industry. 

Carl  Moritz  Weiekert 
died  on  May  22,  1878,  highly 
respected  by  all  who  knew 
him  as  a  man  of  indomi- 
table energy,  business  abil- 
ity, sagacity  and  one  whose 
noblesse  of  character,  hon- 
esty and  integrity  compelled 
admiration.  His  son,  Otto 
Weickert,  extended  the  felt 
manufacturing    business    to 

enormous  proportions,  establishing  distributing  depots  in  all  the 
larger  markets.  After  fifty  years  of  active  participation  in  the 
management,  he  turned  the  business  over  to  the  care  of  his  son 
Max  and  his  nephew  Fritz  Weickert,  who  maintained  the  con- 
servative policy  of  the  house  with  due  regard  for  progressive 
advancement. 

The  technical  management  of  the  factories  has  remained  in  the 
hands  of  the  Patzschke  family.  Rudolf  Patzschke,  a  grandson  of 
F.  W.  Patzschke,  has  succeeded  his  father  as  superintendent  of  the 
extensive  works  at  Wurzen,  near  Leipsic. 

The  fact  that  three  generations  of  Weickerts  have  continu- 
ously worked  with  three  generations  of  Patzschkes,  for  the  benefit 
of  their  business,  may  be  looked  upon  as  the  key  to  the  remarkable 
success  of  the  time-honored  firm  of  I.  D.  Weickert. 


otto  Weickert 


o  io 


24 


PIANOS  AND  TIIETT^  MAKP^RS 


Moiilz  J*()('lilniaiiii,  boru 
at  ( )})('!■  Tvcdwitz,  Jnnnarv  27, 
182;],  bci^aii  the  inauiifacture 
of  cast  steel  wire  for  piano 
strino's  about  1S55.  Al- 
tli()Ui;h  lie  dciiioiistrated, 
fi-oiii  tlio  very  beginning, 
that  his  \vii-('  was  superior  to 
any  othci-  on  the  market,  lie 
met  with  great  dillieulties  in 
obtaining  sufficient  outlet  to 
make  liis  business  prolitable. 
It  recjuired  all  of  that  inborn 
determination,  wliicli  says, 
"  1  will,"  to  believe  in  final 
victory,  dui'ing  the  A^ears  of 
disappointments  and  severe 
trials. 
Poehlmaim  studied  to  improve  the  tensile  strength,  polish  and 
iinifoi-m  thickness  of  his  wire,  and  has  succeeded  in  outclassing 
all  his  competitors  since  the  Paris  exposition  of  1867.  Like  Iser- 
mann  and  Weickert,  he  became  the  father  of  an  industry,  which 
multi])lied,  es]iecially  in  Germany,  mainly  for  the  reason  that 
through  J*oehlmann's  efforts  German  music  wire  achieved  an 
international  re])utation.  Moritz  Poehlmann  died  March  26,  1902, 
ill  his  eightieth  year.  The  business  is  carried  on  by  his  son,  Rich- 
ard  Poehlmann. 

ENGLAND 


Moritz  Poehlmann 


Turning  to  England  with  its  rich  history  of  glorious  achieve- 
ments, we  find  the  grand  old  house  of  John  Broadwood  &  Sons, 
after  a  career  of  178  years,  in  renewed  glory  at  the  head  of  the 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


243 


English  piano  industry. 
The  founder,  Burckhardt 
Tschudi,  born  at  Schwanden, 
Switzerland,  on  March  13, 
1702,  came  to  London  in 
1718,  to  follow  his  trade  of 
cabinet  making.  He  soon 
found  employment  with  Ta- 
bel,  a  Flemish  harpsichord 
maker.  In  1732,  Tschudi  es- 
tablished himself  as  harpsi- 
chord maker  in  that  historic 
house,  33  Great  Poulteney 
Street,  which  the  later  firm  of 
Broadwood  &  Sons  occupied 
for  their  showrooms  and  city 
offices    until    1903.     It    was 

in  this  house  where  the  "  Wonder-child,"  Wolfgang  Amadeus 
Mozart,  practiced  on  the  harpsichord  which  Tschudi  had  built  for 
Frederick  the  Great,  King  of  Prussia. 

Tschudi  seems  to  have  been  the  first  to  change  his  name  for 
expedience'  sake,  for  he  traded  under  the  name  of  Burkat  Shudi. 
Besides  being  an  excellent  mechanic,  Shudi  was  also  a  very  shrewd 
business  man,  who  knew  the  value  of  advertising.  He  courted 
the  friendship  of  all  leading  musicians  who  came  to  London,  and 
formed  an  intimate  friendship  with  the  great  Handel,  who  intro- 
duced Shudi 's  harpsichords  to  the  English  nobility,  and  no  doubt 
assisted  materially  in  securing  Shudi 's  appointment  as  maker 
to  the  court  of  the  Prince  of  Wales.  The  composer  Haydn  was 
also  one  of  Shudi 's  intimate  friends  and  was  so  much 
at  home  in  Shudi 's  house  that  he  wrote  many  of  his  compositions 
there. 


John  Broadwood 


244  I'lAXoS  AND  TIIKIK  MAKKKS 

AVitli  oroditabit'  slircwdiiess  Sliudi  pi-esented  to  Frederick  the 
Great,  as  the  dcfciidci-  (tf  llit-  I'l-otestant  faith,  one  oi'  liis  liarpsi- 
elioi'ds.  aftei"  Fi-cilcrick  liad  won  tlic  battle  oi'  i*rague,  for  wliicli 
lie  icc('i\('(l  111  rcliini  ;i  liiin'  licariiiL!,-  a  jxn'trait  of  I'^redi-rick.  In 
J77(i  lie  was  coiiiiii.-iiidcd  Id  build  two  liai'psicliords  I'oi'  the  "  New 
Palais  "  at  Potsdam,  and  later  on  Frederick  ordered  a  har])si- 
chord  ("f  Shudi  at  a  cost  of  $1,U()0.  Besides  i)rofiting  Ijy  tlie  pres- 
tige, vShndi  cei-tainly  made  a  good  casli  ]n'ofit  on  these  instru- 
ments. 

dolin  Broadwood,  born  at  ('ocl<l)nrns,  Scotland,  in  1732,  came 
to  London  about  17o2.  A  joiner  by  tra(U'.  he  eventually  t'onnd 
liis  way  to  ShiidiV  shop  and  ingi'atiated  iiimsell'  so  strongly  in 
his  master's  l'a\'oi-  that  he  not  only  was  accei)ted  in  ])artnership, 
aial  the  liriii  name  changed  to  Slindi  cV:  liroadwood,  but  he  also 
married  Shudi 's  daughtei'  in  17')1),  whereupon  Shudi  retired  from 
business  entirely.  Shudi  died  on  August  1!),  1773.  Broadwood 
now  took  Shudi 's  son  in  partnership,  but  assumed  sole  control 
again  in  1783. 

John  Broadwood  was  a  man  of  exceptional  ability  in  many 
ways.  He  kei)t  in  close  touch  with  all  the  leaders  in  his  art,  asso- 
ciating intimately  with  Americus  Backers,  Stodart  and  other  in- 
ventoi-s  of  his  day,  always  kee])ing  o})en  liouse  for  his  friends 
among  the  musicians  and  other  artists,  so  that  IV,]  Oreat  Poulteney 
Street  became  a  meeting  place  for  all  the  bi'illiant  i)eople  of  London 
of  that  time.  His  receptive  mind  enabled  him  to  piolit  by  this 
intercourse  with  iiitellectnal  pe<)))le,  and  he  never  hesitated  to 
ask  the  aid  and  Judgment  of  his  artistic  or  scientilic  friends,  when 
woi'king  on  his  great  innovations  in  piano  construction.  When 
P)roadwood  i-econstructed  the  scjuare  piano,  he  was  not  satisfied 
to  experiment  merely  as  an  empiric.  He  called  upon  his  friends, 
the  great  scientists,  Di-.  (Jray  and  Cav^dla,  of  the  British  Museum, 
to  beneiit  bv  their  knowledge  of  acoustics.     He  would  ever  search 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY  245 

for  scientific  laws  to  leani  cause  and  eiTect,  hence  his  inventions 
were  all  of  permanent  value.  In  171)5,  he  admitted  his  son  James 
Shudi  Broadwood  to  partnership,  changing  the  firm  name  to  John 
Broadwood  &  Son,  and  in  1808  his  son  Thomas  joined  the  firm,  the 
name  being  again  changed  to  John  Broadwood  &  Sons. 

After  the  death  of  John  Broadwood,  in  1812,  James  became 
the  head  of  the  house.  Brought  up  in  the  intellectual  and  artistic 
atmosphere  of  that  house  in  Great  Poulteney  Street,  where  his 
grandfather  had  built  harpsiclioi-ds  for  kings  and  nobility,  where 
Mozart,  Handel  and  Haydn  had  practiced,  and  where  his  father 
had  built  his  pianos  under  the  advice  and  according  to  the  demands 
of  Muzio  Clementi  and  other  masters  of  the  piano,  James  S. 
Broadwood  was  eminently  qualified  to  add  to  the  glory  of  the 
house,  as  a  piano  maker  and  a  business  man.  Thoroughly  in  sym- 
pathy with  the  liberal  views  of  life  current  in  the  world  of  artists, 
James  inaugurated  those  celebrated  Saturday  dinners  at  33  Great 
Poulteney  Street,  where  he  assembled  around  his  sumptuous  table 
all  of  the  great  musicians,  or  whoever,  in  London,  could  lay  claim 
to  superior  achievement  in  art  and  literature.  No  wonder  that 
the  praise  of  the  Broadwood  piano  was  sung  in  all  modern 
languages.  Even  Beethoven,  with  all  his  loyalty  to  Nannette 
Streicher,  joined  the  chorus  of  Broadwood  admirers, 

Henry  Fowler  Broadwood  succeeded  James  in  1834  as  head 
of  the  house,  his  valuable  inventions  adding  largely  to  the  luster 
of  the  great  firm.  It  was  during  this  time  that  Chopin  gave  his 
last  recital  in  England  at  the  concert  hall  of  the  Broadwood  house 
in  Great  Poulteney  Street.  Henry  Fowler  Broadwood  passed 
away  in  1893  at  the  age  of  82,  having  guided  the  affairs  of  the 
house  for  over  50  years. 

W-alter  Stewart  Broadwood  and  Thomas  Broadwood  became 
partners  in  1843,  George  Thomas  Eose  and  Frederick  Eose  in 
1857.    George  Daniel  Eose  joined  in  1883,  and  James  Henry  Shudi 


246  PIANOS  AND  TllElK  MAKEKS 

Broadwood,  tlic  inventor  of  the  hnrlcss  steel  frame,  in  1894.  W.  ('. 
l)()l)))s,  a  .ii-i-andson  oi'  lienry  l^'uwler  Jiroadwood,  was  admitted 
to  i>ai-1iH'isliiii  ill  the  same  year.  Tims  six  i^-eiKM'atioiis,  eonnting 
I'l-diii  Sliiiiji  ill  ilirect  (lescciil,  lia\'e  i^uided  llie  destiny  of  this  great 
house.    James  H.  S.  Broadwood  died  Febrmiry  8,  1911. 

Conforminu  to  the  chaiii^-e*!  conditions  in  maniifaeturing  and 
business  methods,  the  IJroadwoods  liave  lately  erected  new  worlds, 
e(|ni|>|MMl  with  n])-to-date  macliineiy  and  a])])1iances  of  the  most 
a|i|i!-o\('d  charaeter.  in  190;')  the  histoi-ic  show-rooms  on  Great 
Poulteuey  Street  had  to  be  taken  down,  and  one  of  London's  most 
celebrated  landmarks  ]iassed  into  ol)livion. 

Witii  traditional  progressiveness  the  house  of  Broadwood  lias 
taken  the  lead  in  Enghind  by  producing  entire  player  jiianos  as 
a  specialty  in  their  factories  and  have  established  modern  show- 
rooms near  fasliionable  Bond  Street.  It  should  be  mentioned  here 
that  the  Broadw^oods  have  uninterruptedly  been  purveyors  to  the 
Coui't  of  St.  James  since  tlie  reign  of  George  I. 

The  firm  of  Collard  &  Collard  traces  its  origin  to  Longmann  & 
Broderip,  who  established  a  publisliing  house  in  17(37,  and  also 
liuilt  some  pianos.  Muzio  Clementi,  who  had  become  wealthy,  and 
whose  compositions  were  ])ublished  by  Longmann  &  Broderip, 
invested  jiart  of  his  money  in  their  jiiano  factory,  finally  associat- 
ing liimseif  with  F.  W.  &  ^\ .  P.  C^oUard,  un(kn'  the  firm  name  of 
Clementi  &  Company,  dementi's  great  rejmtation  as  a  virtuoso 
and  composer  was  a  distinct  advantage  to  the  young  firm,  but 
its  lasting  reinitation  was  esta])lished  through  the  mechanical  and 
inventive  genius  of  F.  W.  Collard,  wdio  obtained  several  patents  for 
improvements  as  early  as  1811.  ITpon  tlie  i-etirement  of  Clementi, 
tlie  firm  was  changed  to  Collard  &  Collard.  Under  the  aggressive 
management  of  Charles  Lukey  Collard,  who  became  sole  owmer  in 
1859,  the  firm  forged  rapidl\  to  the  front,  and  achieved  worldwide 
fame. 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


247 


In  1804  Thomas  Butcher 
started  a  i)iano  slio})  and 
took  William  C*hallen  as  a 
partner  in  1810.  Upon 
Butcher's  retirement  in 
1830,  Challen  became  sole 
owner.  He  succeeded  in 
turning-  out  excellent  up- 
right pianos  and  amassed  a 
fortune.  Eetiring  in  1862, 
he  left  the  business  to  his 
son,  C.  Challen,  who  ad- 
mitted liis  son,  C.  H,  Chal- 
len, to  partnership  in  1873, 
from  which  time  the  firm 
has  been  known  as  Challen 
&  Son. 

The  firm  of  J.  &  J.  Hop- 
kinson  was  founded  in  1835  by  John  Ilopkinson  at  Leeds.  In 
1846  he  took  his  brother,  James,  as  partner  and  moved  the  business 
to  London.  John  Hopkinson  was  a  thorough  })iano  builder  and  in- 
vented many  improvements,  which  gave  his  firm  great  prominence. 
He  retired  from  business  in  1869  and  died  on  April  4,  1886. 

John  Brinsmead  started  in  business  in  1837.  In  1862  he 
patented  a  repetition  action,  for  the  further  improvement  of  which 
seven  patents  were  granted,  the  latest  in  1885.  His  sons,  Edgar 
and  Thomas  James,  took  active  part  in  the  management  of  the 
ever-growing  business,  which  soon  was  counted  among  the  leaders 
of  its  kind  in  England.  The  firm  was  appointed  piano  makers  to 
the  Prince  of  Wales,  and,  in  1911,  to  King  George  V.  Forty  prize 
medals  and  diplomas  were  awarded  to  them  at  various  expositions 
for  meritorious  exhibits. 


John  Brinsmead 


24S 


PIANOS  AXD  THEIR  ^FAKERS 


111  ^'^~i)  Joliii  T^>iMiismead 
was  elected  lidiKtrai'}'  iiieiii- 
l)ei-  of  L'Acadomio  Xatioiiale 
<>r  l"'i'aii('e.  ami  in  1S78  was 
decoratcMl  with  the  cross  of 
the  Logioii  (if  IloiKtr.  Many 
of   the    leadiiiu'   artists    iiave 

^B  ^'iK^'***iaii     k  used    the    IW-iiisniead   i)iaiios 

Bl  ^HrMflF  ^^  jj,    tlieir   foncerts    and   have 

indorsed  theii'  li;ie  (lualities. 
Thomas  James  Brins- 
mead  died  November  9,  lOOd. 
Edi^ar  William  I>riiismead 
died  Xovemher  IS,  11)0?. 
Joliii  Brinsmead  died  March 
17,  1908,  at  the  age  of  92. 
The  business  is  continued  at 
the  i^resent  day  by  H.  Bil- 
linglmrst,  a  gi'andsoii  of  Jolm  Bi-insmead, 

During  tlie  palmy  (hiys  of  l^ngiand's  sui)remaey  in  the  })iano 
iii(hi-tr\'  of  I'hirope.  many  liiiiis  sprang  up  wlio  have  held  their 
own  successl'ully  to  the  [)resent  day.  l'liai)pell  &  Co.,  who  began 
business  in  1811;  Eavestaff  tS:  Son,  establislied  in  1823;  B.  S(iuire 
&  Sou.  in  1829;  (Ji-over  cV  Clrovei-,  in  ISIJO;  Samuel  Barnett  &  Son, 
and  Poehhnann  &  Son  (Halifax),  in  bs;52;  Strohmenger  &  Son,  in 
1835;  Witton,  Witton  &  Company,  in  1838;  Arthur  Allison  &  Com- 
pany, in  1840;  and  .Monnington  &  AVeston,  vrho  stai'ted  in  KS.jS,  are 
counted  among  tlie  progressive  and  successful  houses  of  to- 
day, that  readily  ad()])ted  modern  methods  of  manufacturing,  and 
whose  product  upholds  the  fame  of  the  piano  industry  in  England. 


Thomas  Jaiufs  JJriiisnu'ad 


PART  THREE 


CHAPTER  II 


France,  Erard,  Pleyel,  Kalkbrenner,  Wolff,  Lyon,  Herz,  Pape, 
Kriegel stein,  Gaveau,  Bord,  Scliwander,  Herrbnrger. 

Spain,  Estela,  Gnarra,  Cliassaign,  Montana. 

Belgium,  Berden,  Van  Hyfte,  Vits,  Boone  fils,  Gevaert,  Giintlier, 
Oor. 

Netherlands,  Allgauer,  Cuijpers,  Eijken  and  de  Lange. 

Scandinavia,  Hornung  &  Moller,  Ekstrem,  Malmsjo,  Hals. 

Russia,  Diedericlis,  Schroder,  Becker. 

Japan,  Yamaha,  Nishikawa  &  Son. 


PART    THREE 

CHAPTER  II 
FRANCE 

BORN  in  the  old  historic  city  of  Strasburg  on  April  5,  1752, 
Sebastian  Erard  manifested,  as  a  child,  exceptional  me- 
chanical talent.  When  only  eight  years  of  age  we  find  him 
taking  a  school  course  in  architecture  and  practical  geometry.  His 
mind;  even  then  fertile  in  inventions,  would  suggest  new  problems 
and  he  would  find  his  own  way  of  solving  them.  He  had  the  desire 
to  learn  the  use  of  tools,  and  at  an  early  age  entered  his  father's 
shop  to  learn  cabinet  making. 

When  Sebastian  was  16  years  of  age  his  father  died,  and  from 
then  on  it  fell  to  Sebastian's  lot  to  care  for  his  mother  with  her 
three  small  children.  Not  wavering  long,  he  started  on  foot  for 
the  journey  to  Paris.  Arriving  there  in  1768,  he  found  employ- 
ment with  a  harpsichord  maker,  and  earned  such  good  wages  that 
he  could  well  take  care  of  those  he  had  left  behind  at  Strasburg. 

The  study  of  the  harpsichord  became  a  passion  with  him,  and, 
he  soon  was  the  peer  of  his  employer,  who,  evidently  an  empiric, 
could  never  answer  Erard 's  searching  questions  as  to  the  scientific 
reasons  or  causes  in  harpsichord  construction.  Indeed,  it  was  but 
a  short  time  after  his  connection  with  the  harpsichord  maker  that 
Erard  could  teach  his  master.  He  began  to  construct  instruments 
according  to  his  own  ideas,  and  they  found  so  much  favor  that 
Erard 's  fame  spread  rapidly,  so  much  so  that  the  Duchess  of 

251 


252  PIANOS  AND  THEIR  MAKKUS 

\'ill('r(iy,  a  ^^vva\  imtvoness  of  art,  sought  liliii  out  and  engaged 
liini  to  build  au  instrument  for  licr  use,  ])la('ing  a  well-equii)])ed 
workslio])  in  licr  own  i»alac('  at  liis  disposal,  with  jieriVct  liheily 
to  l'oll(»w  his  own  iiicliuat  ions  and  (h'siro,  just  as  ('hristol'ori  liad 
(h)n('  at  the  pahiee  of  the  Duke  of  Tuscany. 

It  wa>  here  that  I'^rai'd  coii-t  rueted  lii>  lirst  piano  in  1777.  It 
is  said  that  it  was  superior  to  any  other  })iano  of  that  time.  Al- 
thongli  lie  enjoyed  tho  res])e('t  and  most  lihei-al  ]n'otoetion  of  the 
ducliess,  Mrai'd  when  iT)  yrars  of  age  had  greatci'  aspirations.  He 
left  the  palace  and  started  his  own  shop  in  the  l\ue  de  T^oni"])on. 
Because  of  his  coimection  with  the  aristocracy,  fostered  bv  his 
influential  jjrotector,  the  Duchess  of  N'illeroy,  Erard's  success  was 
immediate.  AVith  his  brother,  Jean  Bai)tiste,  he  founded  in  1785 
the  firm  which  for  many  years  thereafter  reigned  supreme  in  all 
the  concei't  halls  of  the  civilized  world.  Xo  other  fiimi,  before  or 
after  I'irard,  occupied  so  exalted  a  [)osition  in  the  nnisical  world  as 
the  house  of  Erard,  from  171H)  to  1855. 

That  Ei'ai'd  had  become  a  man  of  culture  and  refinement  is 
illustrated  by  the  fact  that  he  managed  to  keei)  in  close  touch  with 
the  French  aristocracy,  and  that  lie  had  sufficient  influential  friends 
at  tlie  king's  court,  so  that  at  a  time  when  the  luthiers  of  Paris, 
who  suffered  in  business  because  of  Erard's  competition,  dcMuanded 
tlie  closing  of  his  slioj)  l)ecause  he  was  not  a  chartered  member  of 
the  guild,  the  king  issued  a  si)ecial  charter  for  Erard  as  privileged 
l»iano  and  bar])  maker,  inde]iendent  of  the  guild.  What  splendid 
advertising!  Erard  had  downed  the  guild  that  had  set  out  to  ruin 
him,  and  he  stood  now  above  it  by  special  edict  of  the  king! 

The  French  devolution  drove  Erard  to  London,  where  he  im- 
mediately staite(|  a  i)iano  and  liai-p  factory.  As  in  Paris,  so  in 
London,  Erard  managed  to  obtain  the  entree  to  the  inner  circles 
of  the  English  aristocracy,  and,  because  of  his  interesting  and 
magnetic   personality,  made   warm  friends   among  the   peers  of 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


253 


England.  At  the  proper  time 
he  understood  how  to  make 
good  use  of  his  infiuontial 
friends.  When  he  made  the 
most  unusual  request  for  a 
renewal  of  the  English 
jiatent  on  his  repetition  ac- 
tion, he  depended  upon  his 
personal  friends  in  the 
House  of  Lords  to  carry  his 
point.  By  their  support  suc- 
cess was  his ! 

His  forced  stay  in  Eng- 
land was  not  only  advan- 
tageous to  him  in  a  financial 
way — and  Erard  surelv  was 
a  good  financier — he  profited 
largely     by     getting     more 

closely  acquainted  with  English  systems  of  piano  construction  and 
manufacturing  methods,  which  knowledge  he  put  to  excellent  use 
in  his  Paris  factory  upon  his  return  there  in  1706.  In  fact,  Erard 's 
prominence  as  a  manufacturer  dates  from  that  time,  and  for  many 
years  the  pianos  built  by  him  in  Paris  followed  the  English  models 
very  closely. 

However,  Erard  was  too  great  a  genius  to  follow  a  beaten  path 
long,  and  he  soon  developed  many  useful  inventions,  which  assured 
him  immortality  in  the  piano  world  and  made  his  pianos  the  fa- 
vorites of  all  the  great  artists  (excepting  Chopin)  for  almost  two 
generations,  an  unparalleled  record ! 

It  is  needless  to  say  that  Erard  was  a  princely  entertainer. 
For  many  years  the  Salon  Erard  was  the  center  of  the  intellectual 
life  of  Paris,  and  the  Salle  Erard  the  place  where  Liszt  and  all 


Sebastian  Erard 


254 


riAXOS  AXl)  TIlKIPi  :\rAKERS 


the  ^roat  virtuosos  of  the 
(lay  jjlayetl  })ofore  most  dis- 
tiii.niiislic'd  aiidicneos. 

Mi-ai-(l  (li\i(l(Ml  his  time 
hctweon  Paris  and  London. 
His  brother  Jean  iJaidiste 
had  cliarji'e  of  tlie  Paris  es- 
tablisinnenl  and  iiis  nephew 
Piei'rc  manao'ed  the  London 
works,  Jean  Baptiste  Erard 
died  in  1820,  and  Sebastian 
Erard  on  August  5,  1831. 
He  made  his  ne])hew,  Pierre 
Erard,  sole  heir  of  his  busi- 
ness and  of  liis  great  estate. 
Pierre  made  Paris  his 
domicile  in  1834,  going  to 
London  off  and  on  to  look 
after  the  business  affairs 
there.  He  died  at  Paris  in  1855.  The  Paris  factory,  under  the 
management  and  ownership  of  ]\Ions.  A.  Blondel,  is  still  i)roducing 
excellent  instruments,  which  are  preferred  by  leading  virtuosos, 
maintaining  the  exalted  i)osition  created  by  the  great  genius  and 
wonderful  i)ersonality  of  Sel)astian  Erard. 

At  the  village  of  Ruppersthal,  near  Vienna,  lived  a  school- 
master by  name  of  Pleyel.  He  was  twice  married  and  ])ecame  the 
father  of  38  children,  living  to  be  99  years  of  age.  His  twenty- 
fourth  chihl,  boi'n  in  IT.")?,  was  ba])tized  "  Ignace."  The  boy 
seemed  to  be  talented,  and  his  father  therefore  soon  began  to  teach 
him  tlie  Latin  hniguage,  and  also  obtained  a  good  music  teacher 
for  him.     Ignace  was  a  i)rodigy,  and  made  such  astounding  prog- 


MEN  AVHO  HAVE  MADE  PIANO  HISTORY 


255 


ress  in  his  music  studies  that 
the  wealthy,  music-loviug 
Count  Erdoedy  agreed  to 
pay  the  great  composer, 
Haydn,  the  harge  sum  of  $500 
per  year,  for  five  years,  for 
teaching  and  boarding  young 
Ignace,  who  was  then  15 
years  of  age.  After  finish- 
ing his  studies  with  Haydn, 
Ignace  went  to  Italy,  where 
he  spent  some  time  at  the 
court  of  Naples,  and  by  re- 
quest of  the  king  composed 
an  opera,  also  a  number  of 
orchestral  works. 

From  1783  to  1793  Pleyel 
occupied  the  chair  as  chapel-master  of  the  cathedral  of  Strasburg. 
During  that  period  he  composed  most  of  his  works,  which  had 
an  unusually  large  sale  all  over  Europe.  In  1793  he  resigned  as 
chapel-master  and  accepted  a  lucrative  engagement  at  London, 
where  he  appeared  in  concerts  in  direct  competition  with  his  old 
master  Haydn.  It  seems  that  London  did  not  appeal  to  him,  and 
he  soon  returned  to  Strasburg. 

During  the  French  Revolution,  Pleyel  was  suspected  of  royal 
tendencies  and  was  repeatedly  condemned  to  death.  Stoutly  main- 
taining his  loyalty  to  the  republic,  he  was,  as  a  test,  compelled  to 
compose  music  to  a  revolutionary  drama.  Constantly  watched  by 
two  gendarmes,  Pleyel  finished  the  work  in  seven  days.  It  was 
received  with  so  much  approval  by  the  populace  that  his  loyalty 
to  the  republic  was  never  again  questioned.    The  harassing  expe- 


Ignace  Pleyel 


25G 


PIANOS  AXD  TIIEirJ  ^FAKET^S 


rience  was,  liowcver,  too 
iinicli  for  sensitive  Pleyel 
and  lie  soon  .•il'tci'  iH'inoved 
to  Paris.  Tn  1805  lie  went 
into  the  music  ])nl)lisirmg 
business  and  also  started  a 
piano  faetory  in  ISOT.  In 
IS'24-  lie  ti'ansrcrred  liis  busi- 
ness to  liis  oldest  son  ( 'aniille 
and  retired  to  a  count r>'  scat 
near  Paris,  wlici-c  lie  died  on 
Xovenil)cr  14,  1881. 

Camille    Pleyel,    born    at 

Strasburg'   in    17i>2,    studied 

fBjk  nnisic   with  his   father,   and 

^^"^  later  on  studied   piano  with 

Cumiiic  Pleyel  Dussek.      He    demonstrated 

that  lie  also  had  consider- 
able talent  as  a  composer,  and  one  of  his  biographers  says  that,  if 
he  had  not  been  a  music  seller  and  piano  maker,  lie  would  prob- 
ably have  become  a  great  com[)oser.  lie  associated  himself  with 
Kalkbrenner.  the  renowned  musician  and  ])iano  virtuoso.  To- 
gether tiiey  si)ent  several  years  at  London,  stiid\  im;-  piano  making 
Avitli  Broadwood,  Collard  and  dementi.  Tliey  adopted  for  their 
pianos  the  upiinlit  action  of  AVornum,  and  the  Broadwood  for 
their  grand  pianos,  and  oi'ganized  their  factory  according  to  the 
modern  methods  originated  in  London,  all  of  which  were  great 
factoi's  in  the  I'cmarkable  success  of  the  firm. 

Bolh  iii-inci]Kils  being  accomplished  pianists  of  high  order,  it 
was  but  natural  that  Ihey  were  in  close  touch  with  the  brilliant 
men  of  the  ])rofession.  Camille  Pleyel  formed  a  very  intimate 
friendship  with  Frederic  Chopin,  who  became  an  enthusiastic  ad- 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


257 


Augiiste  Wolff 


vocate  of  the  Pleyel  piano, 
which  he  played  in  all  his 
concerts,  with  a  few  excep- 
tions. Salle  Pleyel,  erected 
about  1829,  was  the  place 
where  Kalkbreuner,  Hum- 
mel, Hiller,  Moscheles,  Mme. 
Pleyel  and  many  others 
scored  their  triumphs,  and 
where  Frederic  Chopin  made 
his  bow  to  Paris  in  1832. 
Anton  Rubinstein,  at  the 
age  of  10,  played  there  in 
1841,  followed  by  Saint- 
Saens,  who  made  his  debut 
at  the  age  of  10,  in 
1846. 

Camille  Pleyel  died  at  Paris,  May  4,  1855,  succeeded  by  his 
i:)artner,  Auguste  Wolff,  the  firm  having  been  changed  to  Pleyel, 
Wolff  &.  Company.  Under  Wolff's  intelligent  management  the 
business  expanded  so  that  the  production  rose  in  1889  to  2,500 
l^iauos  per  year.  Wolff  died  in  February,  1887,  since  which  time 
the  concern  has  been  guided  by  Gustave  Lyon.  The  firm  has  been 
incorporated  under  the  name  of  Pleyel,  Lyon  &  Company.  As 
far  as  I  know,  this  company  is  the  only  establishment  in  the  piano 
industry  that  has  installed  a  practical  pension  system  for  aged 
employees. 

Like  Clementi,  Cramer,  Kalkbreuner  and  Pleyel,  the  great 
piano  virtuoso,  Henri  Herz,  entered  upon  piano  making  after  his 
reputation  as  a  musician  was  established.  Born  on  January  6, 
1806,  at  Vienna,  he  played  in  concert  at  Coblenz  when  only  eight 


258 


PTAXOS  AXD  TTIKIT^  :\rAKF.KS 


yonr?;  of  ni>'o.  W'licii  10 
years  old  lie  was  admitted  as 
imiiil  at  tlic  Paris  Conserva- 
t()i\-,  where  he  obtained  the 
(ii'sl  i)rize  ill  1818.  lie  then 
made  extended  concert  tours 
throuiih  France,  Germany 
and  Filmland,  ineetini>-  with 
,^reat  success.  His  composi- 
tions were  also  very  ]io]inlar, 
and  when  he  met  the  ])iano 
maker,  Klepfar,  a])oiit  the 
Near  1825,  he  established  a 
])iano  factory  at  Paris.  The 
enterprise  was  not  a  success 
ill  the  beginning,  and,  in 
order  to  replenish  his  ex- 
chcfjuer,  llerz  undertook  a 
great  concert  jouiaiey  throiiuh  the  riiited  States,  California,  Mex- 
ico and  the  AVest  Indies  during;'  1849  and  ISoO.  ITpon  liis  return  to 
Paris  he  devoted  liimself  largely  to  the  improvement  of  his  pianos, 
and  established  his  lame  among  [jiano  nuikers  by  the  practical 
sim])lifying  of  the  Firard  grand  action.  His  model  has  been  almost 
universally  adopted  and  is  known  as  the  Frard-Herz  action.  When 
lie  erected  his  new  factory  he  ])rovided  a  large  concert  hall,  which, 
under  the  name  of  ''  Salle  Herz,"  became  famous  because  of 
the  concerts  given  there  by  many  of  the  masters  of  the  piano 
world. 

Herz's  grand  pianos  were  distinguished  by  their  rich  and  re- 
fined tone,  evenness  of  register  and  excellence  of  touch.  Wher- 
ever exhibited  these  instruments  were  awarded  high  })rizes,  and 
always  ranked  among  the  best,     llerz  was  ai)pointed  professor  of 


lifiiri  llorz 


MEN  WHO  HAVE  MADE  PIANO  HISTOm^ 


259 


music  at  the  Paris  Conserva- 
tory in  1842,  and  held  that 
position  until  1874.  Deco- 
rated by  the  King  of  Bel- 
gium, he  was  also  appointed 
inirveyor  to  the  Empress  of 
France.  He  died  in  Paris  on 
January  5,  1888. 

One  of  the  most  interest- 
ing leaders  of  the  French 
piano  industry  of  that  period 
Tvas  Johann  Heinrich  Pape, 
born  at  Sarstedt,  Germany, 
on  July  1,  1789.  He  arrived 
at  Paris  in  1809 ;  but  shortly 
after  went  to  London,  study- 
ing there  for  over  a  year, 
returning  to  Paris  in  1811. 

He  took  charge  of  the  Pleyel  factory  and  began  to  build  pianos 
after  English  models.  In  1815  he  started  in  business  on  his  own 
account,  and  commenced  a  carnival  of  experiments,  the  record 
of  which  is  almost  amazing.  It  seems  as  if  Pape's  mind  just 
bubbled  over  with  ideas,  some  so  bizarre  and  queer  as  to  border 
on  the  ridiculous.  He  took  out  over  120  patents  for  piano  im- 
provements and  published  a  booklet  describing  his  inven- 
tions. 

Had  Pape,  only  to  a  small  degree,  possessed  the  orderly  mind 
of  a  John  Broadwood,  or  a  Sebastian  Erard,  he  would,  beyond 
doubt,  have  become  a  great  benefactor  to  the  industry.  As  it  was 
his  experiments  and  vagaries  are  only  interesting,  but  without 
value,  excepting  his  experimenting  with  hat-felt  for  hammer- 
covering,  which  led  the  way  to  a  permanent  improvement. 


Charles  Kriegelstein 


260 


riAXoS  AXl)  THEIR  MAKERS 


It  is  safe  to  say  that 
Pai)L''s  restless  iniiid  did  not 
]>oi-init  liim  to  tnrn  ont  a 
iminbei-  oi"  i)erl"e('t  pianos  in 
succession.  He  made  many 
very  ^-ood  ])ianos  in  his  big 
t'actoi'y,  l)ut,  before  one  of 
Iiis  often  brilliant  ideas 
was  thoron.n'hly  worked  out 
to  practical  usefulness,  he 
would  come  out  with  an- 
other idea  of  imi)rovement, 
which  necessitated  yet  an- 
other chani>,'e  in  the  i)iano 
then  under  construction. 
His  re])utation  as  an  inven- 
tor si)read  all  over  Europe, 
and  while  in  his  prime,  from 
1835  to  1855,  Pape  liad  in  his  factory  youno-  men  from  all  ]iarts 
of  the  Continent  studying  under  liini.  ^lany  of  them  became  well 
known  later  on,  among  liis  most  talented  ])U])ils  being  Frederick 
]\Iatliusliek  and  Carl  IJechstein. 

Toward  the  end  of  liis  career  Pape  was  beset  with  a  mania  for 
building  i)iaii()s  in  all  kinds  of  impossible  roniis — cycloid,  liexagon, 
etc. — to  which  the  1)uying  ])ublic  did  not  take,  and,  although  he  at 
one  lime  owned  one  of  the  largest  i)iano  factories  of  Paris, 
employing  over  300  men,  he  died  a  poor  man  on  February  2, 
1875. 

Jean  Georges  Kriegelstein,  born  at  Pique wihr  in  1801,  founded 
the  firm  of  Kriegelstein  c^'  rom]iany  at  Paris  in  1831.  He  in- 
vented many  improvements  and  was  especially  successful  with  a 
small  ui)right  piano,  which  he  constructed  in  1842.    Although  only 


Jean  Scliwander 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


261 


42y2  inches  in  height,  it  had 
a  rich  tone  and  was  espe- 
cially even  in  its  registers. 
He  retired  from  business  in 
1858,  and  died  at  Paris  on 
November  20,  1865.  His  son, 
Charles  Kriegelstein,  born 
at  Paris,  December  16,  1839, 
followed  in  the  footsteps  of 
his  father,  with  marked  suc- 
cess, obtaining  high  honors 
for  his  pianos,  wherever  ex- 
hibited. The  business  is  now 
under  the  management  of 
Georges  Kriegelstein,  son  of 
Charles,  who  maintains  the 
high  reputation  which  his 
predecessors  acquired. 

J.  G.  Gaveau  started  to  make  pianos  at  Paris  about  1847,  and 
in  course  of  time  built  up  a  large  business,  turning  out  about  2,000 
high-class  pianos  per  year. 

Jean  Denis  Antoine  Bord,  born  at  Paris  in  1814,  was  the 
first  in  Paris  to  make  a  commercial  upright  piano  of  good  quality. 
He  started  his  business  in  1840,  and  brought  his  production 
to  over  4,000  pianos  per  year  in  1878.  He  died  on  March  4, 
1888. 

Action  making,  as  a  specialty,  had  its  cradle  in  Paris,  and  for 
many  years  Paris  supplied  nearly  all  the  piano  makers  on  the 
continent  of  Europe.  Jean  Schwander,  born  at  Lauterbach, 
Alsace,  in  1812,  came  to  Paris  in  1830,  and  learned  action  making 
at  Kriegel stein's  factory.  He  started  his  own  shop  in  1844,  and 
Kriegelstein  became  his  first  customer.     Schwander  turned  out 


Josef  Herrburger 


)(:o 


'2i>-2 


J'iAXos  AND  TllElK   MAKEKS 


-iK'li  I'xci'llciil  woi-k  tli.'it  liis 
Imsiiioss  expanded  very  rap- 
idly. After  takiiii>'  Josef 
I  Icii'Wui'.ncr  ill  parliicrsiii])  ill 
isi;,")  and  acccpliim'  liiiii  as 
son-indaw,  tlic  coiiccrii  as- 
siiiiicd  (•oiiiniaiidiui;'  pro})()r- 
tions. 

•losef  IIerrl)iirger,  born 
at  l^aiieiidorf,  Alsace,  in  l.S.''^, 
went  to  Paris  in  hSo.")  and 
bei>'an  to  work  for  Seliwan- 
dcr  in  l.sr)4.  lie  demon- 
strated not  only  ^reat  ability 
as  an  organizer,  but  also  as  a 
iiu'clianieian  wiili  inventive 
talent,  lie  desigiUMl  many 
valuable  macliines  and  a])p]i- 
anees  for  action  making  and  invented  several  valna])le  improve- 
ments for  piano  actions.  The  Scliwantler  action  factory  became 
known  as  tlu^  best  e(|ni])])ed  establisliment  of  its  kiiKb  its  ])rodncts 
were  sjiippcd  to  all  parts  of  the  cix'ilized  world  and  young  i)iano 
makers  from  all  oxer  the  CV)ntinent  came  to  the  Schwaiider  factory 
to  study  modern  methods  of  action  making,  dean  Schwander 
died  in  1882  and  Josef  ilerrburger  retired  from  business  in  IDUO, 
succeeded  b\  his  son.  Josef  ll<M'rburger,  Jr..  who  established  a 
braiicli  factory  in  Xew  ^'ol•k,  maintaining  the  exalted  standing  of 
the  old  tirm  in  both  hemisi)lieres. 

SPAIN 

Barcelona  is  the  center  of  ))iano  manufacturing  in  Spain.    We 
:find   that    Pindo  de   Pedro   Estela   established  his   shop   in   1830, 


Joliaiiii  l-'iictlricli   Schroder 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


263 


Hermanos  Giiarra  and  Louis  Izabol  in  1860,  Chassaign  Freres  in 
1864.    At  Madrid,  Montana  comnieneed  business  in  1864. 

BELGIUM    AND    HOLLAND  i-...........^.-.    ,-    -,■  ,^.      ■ 

Belginni  can  boast  of 
older  firms.  Francois  Ber- 
den  &  Company  commenced 
business  at  Brussels  in  1815. 
In  the  city  of  Ghent  four 
firms  started  within  a  few 
years,  about  the  middle  of 
the  19th  century.  B.  Van  ■:- 
Hyfte  was  established  in 
1835,  Emile  Vits  in  1839, 
Boone  Fils  in  1839  and  V. 
Gevaert  in  1846.  J.  Giin- 
ther  of  Kirchheim  started  in 
Brussels  in  1845,  and  J.  Oor 
in  1850.  — 

The      Netherlands      has  ^^^'^  xicoiai  Schroder 

three  firms  of  excellent  standing — Allgauer  &  Zoon  of  Amsterdam, 
established  in  1830;  J.  F.  Cuijpers  of  Hague,  started  in  1832,  and 
Eijken  &  de  Lange  of  Rotterdam,  in  1852. 

SCANDINAVIA 

The  respected  firm  of  Hornung  &  MoUer  oi  Copenhagen, 
founded  in  1827,  has  always  been  in  the  lead.  G.  Ekstrem  &  Com- 
pany started  at  Malmo  in  1836.  I.  G.  Malmsjo  of  Goteborg 
established  in  1843  and  Brodrene  Hals,  who  started  at  Christiania 
in  1847,  are  all  known  beyond  their  own  country  as  makers  of  high- 
class  pianos,  and  from  their  shops  the  piano  manufacturers  of 
America  have  drawn  manv  of  their  best  workmen. 


,-:..^^.  J 


2(i4 


PIAXOS  AX  I)  THEIR  MAKERS 


RUSSIA 

The  firm  of  Gobr.  Diede- 
riclis  was  established  in  St. 
Petersburg'  in  ISIO.  No 
record  of  this  old  firm  is 
availal^le;  it  is,  however,  safe 
to  assume  that  they  came  to 
Russia  from  Germany. 

Jolianu  Friedrieh  Schro- 
(Ut.    boni    at    Stralsund    in 
1785,  started  to  make  pianos 
in    St.    Petersburg   in    1818 
and   l)uilt  up   a   respectable 
business.    After  his  deatli  in 
1852,  his  son,  Karl  Michael 
Schroder,  boi'ii  in  St.  Peters- 
burg in  1828,  having  studied 
with    Erard    and    Herz    at 
Paris,  made  good  use  of  what 
he  had  learned  and  began  to  build  excellent  grand  pianos,  which 
found  great  favor  with  the  artists,  bringing  his  firm  into  the  front 
rank  of  European  piano  makers.    His  pianos  were  awarded  the  high- 
est honors  wherever  exhi])ited,  and  Schroder  was  honored  with  deco- 
rations by  the  Emperors  of  Russia  and  Austria,  and  the  King  of 
Belgium,  and  was  elected  a  member  of  the  Legion  of  Honor  in  recog- 
nition  of  his  services.     He  died  at   Frankfort-on-Main,   May   5, 
1889. 

His  son,  Carl  Xicolai  Schroder,  continued  tlie  progressive 
l)olicy  of  his  father,  following  closely  all  modern  movements  in 
piano  construction,  as  well  as  factory  organization  and  oqui]iment. 
The  firm  has  been  api)ointed  purveyor  to  the  Emperors  of  Russia, 
Austria,  Germany,  and  the  Kings  of  Denmark  and  Bavaria.    After 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


2G5 


Carl  Nicolai  Schrodor's 
death  the  management  of  the 
establishment  passed  into  the 
hands  of  his  sons,  John  and 
Oskar  Schroder. 

Jacob  Becker  went  from 
Neustadt-an-der-Hardt,  Ger- 
many, to  St.  Petersburg  and 
established  his  business  in 
1841.  Becker  was  an  inde- 
pendent thinker  and  experi- 
mented with  many  innova- 
tions. His  pianos,  especially 
his  concert  grands,  were  ex- 
cellent instruments,  often 
used  by  leading  virtuosos. 
Becker  retired  from  business 
in  1871,  to  be  succeeded  by  Michael  A.  Bietepage,  under  whose 
energetic  management  the  business  took  on  commanding  propor- 
tions. The  firm  received  appointments  as  purveyor  to  the  Em- 
l^erors  of  Russia  and  Austria,  the  King  of  Denmark  and  the  Grand 
Dukes  Constantin  and  Nicolai  of  Russia.  M.  A.  Bietepage  was 
honored  by  election  as  hereditary  honorable  citizen  of  St.  Peters- 
burg and  commander  of  the  St.  Stanislaus  Order.  In  1904  Biete- 
l^age  retired  and  the  firm  is  now  controlled  by  Carl  Schroder. 


A.  Bietepage 


JAPAN 


Although  Japan  was  represented  at  the  Paris  Exposition  of 
1878  with  a  square  piano,  the  piano  industry  is  developing  only 
slowly  there.  Torakusu  Yamaha  established  his  business  of  mak- 
ing musical  instruments  in  1880.     In  1885  he  produced  the  first 


266 


I'iAXUS  AXi)  TliEiK   MAKERS 


ori>;iii  made  in  Japan  and 
()i-.uaniz('(l  Tlic  Nippon  Gak- 
l<i  Si(v.o  Kahnsliiki  Ivwaislia 
(Japanese  Musical  Instni- 
iiicnt  Maiiiit'acliirino'  C^om- 
paiiy)  in  ISSi)  witli  a  capi- 
tal of  nO,()()()  yen.  Tn  1907 
II ic  ca])iial  was  increased 
to  (;00,()0()  yen,  of  wiiicli 
ncai'ly  r)00,0()()  yen  is  paid 
up.  Y'aniaba  is  president 
of  the  conii)any,  wliicli  owns 
extensive  factories  at  Ham- 
mamatsu.  This  company 
produces  now  about  GOO 
pianos,  8,000  organs  and 
]  3,000  violins  per  year, 
mainly  patterned  after 
American  and  German  models. 

Nisliikawa  &  Son  of  Yokohama,  established  in  1885,  manufac- 
ture about  200  ])ianos  and  1,300  organs  per  year.  The  senior 
member  of  this  Hiiii  was  a  maker  of  Ja])anese  lutes  and  other 
musical  instruments,  and  is  still  making  violins.  His  son  learned 
piano  making  at  the  Estey  factory  in  New  York. 


Tonikusu  Yainaba 


PART  THREE 

CHAPTER  III 

America,  Creliore,  Osboru,  Babcock,  MacKay,  Stewart,  The  Cliick- 
erings,  Bacon  &  Raven,  James  A.  Gray,  William  Bourne,  Mc- 
Pliail,  The  Lindemans,  Scliomacker,  The  Knabes,  Steinways, 
Hazeltons,  Fischers,  Stieff,  Weber,  Steck,  etc.,  Kimball, 
Cables,  Wnlsin,  Starr,  Healy,  Wurlitzer,  etc.,  Estey,  The 
Whites,  Packard,  Votey,  Clark,  etc. 


PART   THREE 

CHAPTER  III 
AMERICA 

THE  history  of  prominent  piano  men  and  firms  of  the  United 
States  portrays  not  only  the  restlessness  of  the  American 
people,  differing  from  the  conservatism  of  the  old  world, 
but  also  demonstrates  in  a  large  degree  that  America  is  the  land 
of  unlimited  opportunities  and  possibilities.  Nowhere  else  have 
firms  founded  on  meritorious  production  and  sane  business 
methods  gone  so  quickly  into  oblivion,  and  nowhere  else  have  such 
stunning  successes  been  achieved  as  in  the  United  States. 

The  progress  in  technical  as  well  as  commercial  development 
has  been  rapid  because  America  could  draw  from  the  old  world 
its  best  minds,  or  benefit  by  their  products,  assimilate  and  improve 
them.  It  had  the  whole  civilized  world  to  draw  from,  and  was 
never  slow  in  producing  original  ideas.  The  seemingly  endless 
natural  resources  of  a  whole  continent  were  at  the  command  of 
the  industry,  and  its  only  drawback  in  the  early  days  was  the  lack 
of  a  sufficiently  large  clientele  of  cultured  j^eople  who  would  buy 
the  instruments,  as  compared  with  Europe.  Hence  we  find  that, 
although  square  pianos  were  made  in  America  at  about  the  same 
time  as  in  England  and  Germany,  it  took  about  fifty  years  longer 
to  develop  the  industry  to  anything  like  the  magnitude  which  it 
had  apx^roached  in  Europe. 

269 


270  PIANOS  AXI)  TIIKIK'   MAKEKS 

Benjamin  Creliorc,  wlio  liad  established  a  rei)ntation  as  an 
expert  iii;il<('i'  ol'  xioliiis,  ci'llos  and  other  iniisieal  instniitieiits, 
exhibited  a  harpsichord  in  17IM,  and  soon  thereai'ter  built  pianos 
at  Milton,  near  IJoston,  In  his  sho})  he  had  John  Osborn,  Alphens 
and  Lewis  P)al)e()('k  as  pupils.  In  b^lo  the  I)al)eoek  brothers 
began  to  make  pianos  in  Uoston.  The  great  panie  ui'  bsil)  mined 
their  bnsiness,  })nt  we  hear  of  Alphena  Babeoek  again  in  b'^21,  in 
]i;Mt ner>hii)  with  dohn  Ma<d\ay,  tliat  eonnuereial  genius  who  later 
assisted  so  strongly  in  l)nil(bng  up  the  fame  of  the  Chiekering 
firm. 

.John  Osborn,  the  most  talented  of  C'rehore's  pupils,  started 
in  l)usin(»ss  in  1815.  Tt  was  in  Osborn 's  slio])  tliat  Jonas  Chieker- 
ing learned  the  art  of  i)iano  making.  Born  in  New  Ipswieh,  X.  PI., 
on  A])ril  5,  1798,  Chiekering  came  to  Boston  about  1817,  after  he 
liad  served  his  apprenticeship  as  a  cabinetmaker  and  joiner.  Well 
educated  and  possessing  decided  mechanical  talents  of  a  high 
order,  Chiekering  was  attracted  to  the  art  of  ]nano  making  and 
was  fortunate  in  tinding  a  master  like  Osborn  as  teacher.  lie 
studied  wllli  Osborn  until  1823,  when  James  Stewart,  who  had 
come  from  r>altimore  to  go  in  i)artnersliip  with  Osborn,  Imt  soon 
f|narreled  with  him,  })ro|)Ose(l  ])artnershi})  to  Chiekering,  which  the 
latter  accepted,  and  the  fiim  of  Stewai-t  &  Chiekering  opened  their 
shop  on  Tremont  Street  in  that  year. 

Stewart  was  one  of  those  restless,  unsettled  inventors,  who 
needed  the  metliudieal  and  })ainstaking  young  Chiekering  to  give 
to  his  inventions  the  practical  form.  It  soon  developed,  however, 
that  Chiekering  was  not  only  the  better  workman  of  the  two,  but 
also  the  far  more  scientific  piano  maker.  The  firm  was  dissolved 
in  1S2().  Stewart  went  to  London  to  take  a  prominent  ])osition 
with  Collard  cV  Collard.  donas  Chiekering  continued  the  business, 
making  excellent  ])ianos,  but  his  talents  were  more  in  tlu^  line  of 
inventing  and  constructing  than  merchandising,    lie  also  sutfered 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


271 


from  lack  of  capital,  so  that 
liis  progress  was  rather  slow 
until  John  MacKay,  who  had 
left  Babcock,  joined  liiin  as 
a  partner.  This  closed  the 
chain  of  Chickering's  con- 
nection with  Crehore,  the 
founder  of  the  Boston  school, 
consisting  of  Osborn  and 
Lewis  Babcock,  pupils  of 
Crehore;  and  Alpheus  Bab- 
cock, partner  of  MacKa}', 
the  latter  joining  Chickering. 

MacKay  had  had  con- 
siderable experience  as  a 
merchant,  having  traveled 
much  to  England  and  other 
foreign  countries,  and  was 
unquestionably  a  commer- 
cial genius,  With  sufficient  capital  at  his  command,  and  faith  in 
Chickering's  excellent  pianos,  MacKay  started  an  aggressive  sell- 
ing campaign,  making  the  Chickering  piano  known  in  all  the  cities 
of  the  United  States.  Chickering,  freed  from  all  financial  and 
business  cares,  devoted  his  whole  time  and  attention  to  the  develop- 
ment and  improvement  of  his  piano,  and  many  of  his  best  inven- 
tions were  perfected  during  the  period  of  his  partnership  with 
MacKay,  which  came  to  an  untimely  end  in  1841.  MacKay,  hav- 
ing gone  in  a  ship  of  his  own  to  South  America  to  procure  fancy 
woods  for  the  Chickering  factory,  never  returned  from  that  voy- 
age, nor  was  his  ship  ever  heard  from. 

Once  more  Jonas  Chickering  had  to  assume  entire  charge  of 
the  business.    He  continued  MacKay 's  aggressive  policy  with  great 


272  PIAXOS  AXl)  THEIR  MAKERS 

eucrgy,  inniiitaluiiig  the  liigliost  i)ossible  prices  for  his  pianos, 
ninl  spciidiiiii  money  liliorally  for  tlio  necessary  publicity.  He 
exhibited  his  i)ianos  at  every  ini})ortaut  exposition,  going  to  the 
World's  Fair  of  London  in  IS.")!  witli  a  nunil)er  of  instruments; 
ciiga-cd  prominent  virtuosos  to  })hiy  Jiis  grand  i)ianos  in  concert; 
and  took  active  ])art  in  the  nmsical  life  of  liis  liome  city,  acting  as 
vice-president  of  the  great  Jlandel  and  JIaydn  Society  as  early 
as  18.')4,  and  later  on  as  its  president  for  seven  years. 

While  ])aying  proper  attention  to  the  commercial  and  artistic 
necessities  of  his  great  establishment,  Jonas  Chickering  was  ever 
t!"ue  to  his  love  for  scientific  research  and  ex])eri7nents,  to  improve 
his  jjiauos.  He  was  not  an  empiric,  who  would  experiment  hap- 
hazard with  an  idea.  "Whenever  he  had  discovered  a  i)0ssible 
improvement,  he  would  work  out  the  problem  in  its  entirety  on  his 
drawing  board,  until  he  had  proven  to  his  own  satisfaction  its 
practicability,  and  not  before  would  he  turn  it  over  to  his 
mechanics  for  execution.  It  was  this  i)ainstaking  care  down  to  the 
smallest  detail  which  assured  the  Chickering  piano  the  place  of 
honor  in  tlie  first  ranks. 

When  at  the  height  of  his  prosjx'rity  Jonas  Chickering  met 
will  I  a  great  caUnnity.  On  December  1,  1852,  his  factory  was 
totally  desti'oyed  ))y  tire,  inxolving  a  loss  of  $250,000.  Undaunted, 
Chickering  at  once  designed  plans  for  a  new  and  larger  factor}^, 
which  was  soon  erected,  and  stands  to  this  day  on  Treniont  Street, 
Boston,  as  a  monument  to  the  exce})tional  ability,  talent  and  cour- 
age of  Jonas  ( 'liickering.  i^]ven  now,  nearly  GO  years  after  its 
erection,  tiiis  factory  is  considered  one  of  the  best  for  its  purpose. 

Jonas  Chickering  died  on  December  8,  185;),  in  his  fil'ty-sixth 
year.  The  extraordinai-y  nervous  strain  oi'  the  short  i)eriod  from 
the  destruction  of  his  old  factory  to  the  completion  of  the  lU'W 
works  had,  uo  doubt,  atfected  his  constitution.  He  had  educated 
all  of  his  three  sons  as  practical  piano  makers  and  admitted  them 


MEN  WHO  HAVE  MADE  PIANO  HISTOEY 


273 


to  partnership  in  1852,  when 
the  firm  was  changed  to 
Chickering  &  Sons.  The 
three  brothers  made  a  rare 
and  most  fortunate  combina- 
tion. 

Thomas  E.  Chickering, 
the  eldest  son,  soon  ex- 
hibited pronounced  commer- 
cial talents  and,  as  a  man  of 
the  world,  represented  the 
firm  with  excellent  results  in 
social  circles,  making  friends 
among  artists,  literary  and 
scientific  men.  His  promis- 
ing career  was  prematurely 
cut  short  by  his  death  on 
February  14,  1871. 

This  sad  event  made  C.  Frank  Chickering,  born  at  Boston  on 
January  20,  1827,  the  head  of  the  firm.  Having  inherited  his 
father's  talents  as  a  designer  and  inventor,  he  had  been  in  charge 
of  the  construction  department  since  his  father's  death  in  1853. 
"While  studying,  as  a  young  man,  he  had  impaired  his  health  and, 
upon  the  advice  of  his  physician,  in  1814  he  went  on  a  voyage  to 
India  in  a  sailing  vessel.  He  took  with  him  a  number  of 
pianos,  which  he  sold  in  India  at  good  prices,  and  thus  the  firm 
of  Chickering  became  the  first  exporters  of  American  made 
pianos. 

In  1851  Frank  accompanied  his  father  to  London  to  take  care 
of  their  exhibit  at  the  World's  Fair.  The  prolonged  stay  in  what 
was  then  the  home  of  the  most  advanced  piano  construction  was 
of  great  and  lasting  advantage  to  young  Frank.    It  gave  him  the 


Thomas  E.  Chickering 


274 


rr.wos^  AX  I)  TiiFjn  makeks 


C.  Frank  Chickerinj' 


opporluiiily  to  study  and 
eoiiiiinrc  tlic  worlc  of  tlio  best 
Ijiaiiis  (>r  the  industry  as  it 
then  existed  in  Mui-ope,  and 
furtlieriiiorc  lie  became  ac- 
(|uniiit(Ml  willi  the  advanced 
maiiuracliiriiii;'  iiictliods  of 
the  celchiated  Loudon  estab- 
lisliiiiciits.  Eeturnin.i;-  from 
abroad,  Frank  utilized  liis  ex- 
periences witli  effect,  o'reatly 
iiiil)i'()viu,i;-  the  ( 'bickering 
}»ianos. 

Appreciating  the  impor- 
tance of  New  York  as  an  art 
center,  ('bickering  &  Sons 
opened  extensive  warerooms 
tbeic  under  the  direct  management  of  ('.  Fi-aidv  C'bickering,  and 
in  1875  erected  ('iiickeriug  I  fall,  on  Fifth  Avenue.  In  this  ball, 
virtuosos  like  l>iilow,  doseffy,  de  rachinauu.  TTeury  Ketten  and 
maii>  olliers  gave  their  never-to-be-forgotten  concerts  on  the 
('liickering  grand  pianos,  designed  and  const lucted  l)y  C.  Frank 
Ciiickeri  ug. 

rbickeriiiu'  Hall  was  chosen  as  a  -iMU-maueid  houu^  l)y  leading 
glee  clubs,  such  as  the  ]\Iendelssolni,  the  English  Glee  CIul),  the 
Kew  ^'()l•k  \'()cal  Societ}-  and  by  those  eminent  apostles  of  classic 
chamber  music,  the  Xew  Yoi'k  (^)uartette,  composed  of  C.  ^Follen- 
hauer,  M.  Sehwarz,  (jieorge  Alatzka  and  h\  Jjergner,  and  the  IMiil- 
barmouic  riub  under  the  able  leadership  of  Tkichard  Arnold. 
Kemenxi  and  W'illielini  apjx'ared  as  soloists  with  (rotthold  Carl- 
berg's  Orcbestia,  and  I-'rank  \^-in  dei-  Stucken  conducted  symphony 
concerts  for  several  seasons  in  Chickering  Hall,  to  be  followed  by 


MEN  WHO  HAVE  AlADE  PIANO  HISTORY 


275 


Anton  Seidl  and  llie  Bos- 
ton Syinpliony  Orclicstrn 
with  Franz  Itummcl,  Xavei- 
Hcliarwcnka  and  liicliard 
Hoffmann  as  soloists.  Tlic 
great  bnilding  contained, 
besides  the  concert  hall 
with  a  seating  capacity  of 
2,000,  the  showrooms  for 
the  Chickering  pianos,  offices, 
rei)air  shops  and  also  the 
drafting  rooms,  where  C. 
Frank  Chickering  designed 
and  worked  out  his  in- 
ventions. 

It  was  bnt  natural  that 
in  New  York,  as  in  Boston, 
Frank    should    be    in    close 

touch  with  artistic  and  literary  circles.  Among  his  personal 
friends  was  one  J.  H.  Paine,  a  composer  and  critic  of  con- 
siderable ability.  He  was  generally  known  as  "  Miser  "  Paine, 
and  would  gladly  accept  Chickering 's  hospitality  and  aid  at  all 
times.  He  was  considered  a  poor  man  by  all  who  knew  him. 
One  day  he  brought  to  Frank  Chickering  a  bundle  wrapped  up  in 
a  bandanna  handkerchief,  asking  Chickering  to  kindly  place  the 
package  in  his  safe.  Chickering  assumed  that  the  bundle  con- 
tained manuscripts  of  Paine 's  compositions  and  accepted  the 
charge.  About  17  years  thereafter  Paine  died,  without  leaving  a 
will  or  any  disposition  of  the  aforesaid  bundle.  Chickering  sent 
for  Paine 's  legal  representative,  the  bundle  was  opened  in  his 
presence  and  found  to  contain  over  $100,000  worth  of  bonds  and 
currency.      Chickering    delivered    the    valuable    package    to    the 


George  H.  Chickering 


276  ]MAXns  AXD  'VWKWl  MAKEKS 

lawyer,  wlio  was  obliged  to  liniii  ii])  distant  relatives  of  Paine  to 
distril)iite  tlie  liciltage. 

(".  l-'iaiik  Cliiekei-iiig  was  in  all  resjieets  one  of  nature's  noble- 
men. Ill  appearance  he  reminded  one  fureibly  of  the  Grand 
Seignenrs  of  i.(>iil>  .\l\''s  time,  tie  died  in  X(»w  York,  ^Fareli 
L'."),  is: II. 

George  IT.  Cliiekering,  the  youngest  of  the  l)rotliei's,  was  born 
at  Duslun  on  April  IS,  18oU.  After  ae(iniring  an  excellent  educa- 
ti(^n,  lie  tni'iied  to  the  IxMicli  and  worked  nndei"  his  fath(M''s  tutelage. 
J'\)r  many  years  George  made  every  set  of  hannners  nsed  in  tlieii- 
coneert  grands.  lie  was  an  exceedingly  neat  and  artistic  me- 
chanic. After  IS,");!  lie  took  charge  of  the  factory  management  and 
performed  liis  ardnons  duties  most  faithfully  until  his  death,  on 
November  17,  1896.  All  three  of  the  brothers,  like  their  father, 
took  an  active  part  in  the  artistic  life  of  their  home  city  and  each 
of  them  served  in  turn  with  honor  as  president  of  the  Handel  and 
Haydn  Society. 

The  Cliiekering  })ianos  were  alwa3's  awarded  the  highest  hon- 
ors wherever  exhibited,  and.  at  the  World's  Fair  at  Paris,  18(57,  C. 
Frank  Chickering  was  decorated  by  the  Emperor  of  the  French 
with  the  Cross  of  the  Legion  of  Honor. 

The  liusiness  of  this  renowned  iirm  is  successfully  carried  on 
by  a  coi-])oration  which  has  joijied  the  American  Piano  Company, 
maintaining  the  high  character  of  its  products.  True  to  the  tradi- 
tions of  the  lionoi-e(l  name,  Chickering  &  Sons  have  of  late  years 
been  instrumental  in  I'eviving  interest  in  the  beauties  of  the  old 
clavichord,  and  are  building  such  instruments  for  those  who  enjoy 
the  study  of  the  com])ositions  of  .Tohann  Sebastian  Bach,  Scar- 
latti and  others  who  wrote  foi-  the  clavichord.  The  factory  on 
Tremont  Street,  Boston,  has  become  a  landmark  of  that  historic 
city,  but  Chickering  Hall,  Xew  York,  had  to  give  way  to  a  modern 
building  for  business  purposes. 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


277 


Next  to  Cliickeriiig  & 
'  Sons,  the  Bacon  Piano  Com- 
pany of  New  York  is  most 
closely  connected  to  the 
founders  of  the  industry  in 
America.  Robert  Stodart  of 
London  started  in  New  York 
in  1820.  In  1821  Dubois 
joined  him  and  the  firm  was 
Dubois  &■  Stodart  until  183C, 
when  Stodart  retired  and 
George  Bacon  and  Chambers 
joined.  Five  years  later  Du- 
bois and  Chambers  withdrew 
and  Raven  joined,  the  firm 
being  changed  to  Bacon  & 
Raven,     which     was     again 

•changed  to  Raven  &  Bacon,  when  George  Bacon  died  in  1856  and 
his  son,  Francis  Bacon,  entered  as  partner.  In  1904  the  firm  was 
incorporated  under  the  title  of  the  Bacon  Piano  Company,  with 
Chas.  M.  Tremaine  as  president  and  W.  H.  P.  Bacon,  son  of  Fran- 
cis, as  vice-president. 

James  A.  Gray,  born  at  New  York  in  1815,  learned  his  trade 
with  Firth  &  Pond  of  New  York  from  1831  to  1835,  when  he  was 
called  to  Binghamton,  N.  Y.,  to  superintend  Pratt's  piano  factory. 
In  1836  William  Boardman  of  Albany  induced  him  to  take  charge 
of  his  establishment,  and  two  years  later  the  firm  became  Board- 
man  &  Gray.  Possessing  decided  talents  as  an  inventor.  Gray 
made  many  very  interesting  experiments,  among  which  his  isolated 
iron  rim  and  frame  and  the  corrugated  soundboard  are  the  most 
noteworthy.    For  a  time  he  had  great  faith  in  the  value  of  those 


James  A.  Gray 


278  PTAXOS  AND  TTIEIK  :\rAKERS 

inventions.  He  even  took  a 
nuni))er  of  pianos  containing 
tlic  same  to  London  for  ex- 
hibition in  1850,  but  after  a 
coni})aratively  sliort  time  lie 
discarded  all  of  them,  prefer- 
ring to  build  a  line  piano 
nlong  conventional  lines.  He 
('(hicated  liis  sons,  James  S. 
and  William  dames,  as  thor- 
ough i)ianu  makers,  and  the 
time-honored  firm  maintains 
its  reputation  for  high-class 
production  to  this  date.  Wil- 
liam Boardman,  who  re- 
tiiT'd  at  an  early  date  from 
■fhe  firm,  died  January  5,1881, 
at  the  age  of  81  years.  James  A.  Gray  took  a  more  or  less  active 
part  in  the  business  until  his  death  on  December  11,  1889.  His  sons, 
"William  James  Gi-ay,  l)oi-n  dune  13,  18.").'),  and  James  Stuart  Gray, 
born  September  7,  1857,  are  continuing  the  business  with 
success. 

Une  of  the  pioneers  who  atteni})ted  to  force  civilization  in  its 
liigher  development  u]^on  the  "  Far  AVest  "  was  William  Bourne. 
He  started  a  piano  factory  at  Dayton,  Ohio,  in  1837,  at  a  time 
when  the  savage  Indian  was  still  a  "  near  neighbor."  Evidently 
Bourne  did  not  find  the  expected  encouragement  at  Dayton,  and 
removed  in  1840  to  Cincinnati.  Even  hei-e  his  ai-t  was  not  appre- 
ciated, and  he  therefore  accepted  in  1842  a  ])osition  in  the  Chick- 
ering  factory,  where  he  remained  until  1846,  when  lie  organized 
the  firm  of  William  Bouj-ne  &  rom]iany.     A  ])iano  maker  of  the 


A.  -M.  MclMuiil 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


279 


old  scliool.  Bourne  could  turn 
out  nothing  but  thoroughly 
first-class  pianos.  Since  liis 
death,  in  1885,  the  business 
has  been  continued  by  his 
son,  Charles  H.  Bourne. 

A.  Ai.  McPhail  started 
his  business  in  Boston  in 
1837.  Born  at  St.  Andrews, 
New  Brunswick,  he  came  to 
Boston  as  a  bov,  and  was 
apprenticed  to  the  renowned 
piano  maker,  Gilbert.  He 
learned  to  make  pianos  so 
well  that  he  soon  established 
a  high  reputation  for  his  - 
own  product.  He  was  a  piano 
maker  of  the  old  school,  who 

took  pride  in  his  work  and  considered  the  artistic  success  more 
than  the  commercial,  although  in  his  long  career,  from  1837  to 
1891,  he  met  all  of  his  obligations  with  never  failing  promptness. 
As  a  citizen  he  took  a  great  interest  in  educational,  artistic  and 
musical  affairs,  and  also  served  as  representative  in  the  Massa- 
chusetts Legislature.  He  retired  in  1891,  and  died  at  Omaha, 
October  6,  1902.  The  business  is  carried  on  by  the  A.  M.  McPhail 
Company,  a  corporation. 

Among  the  many  illustrious  Germans  who  have  done  so  much 
for  the  uplifting  of  the  piano  industry  in  New  York,  "William 
Lindeman  deserves  particular  credit  for  being  the  first  who  had 
the  courage  to  combat  successfully  the  unworthy  prejudice  and 
attitude  of  the  people  of  his  day  toward  the   German  element. 


William  Lindeman 


280 


PTAXOS  AXI)  TlIKllJ  :^rAKERS 


Born  ;if  l^resden,  Germany, 
ill  17!)."),  where  he  also 
learii('(|  his  ;ii-t  of  piano  mak- 
ing, Lindcman  canrj  to  New 
York  in  18.14  and  cslnhlished 
his  business  in  1836.  Al- 
tliongh  his  i)ianos  were  of 
the  highest  order,  success 
came  slowly,  hut  wlion  his 
son  IJenry  brought  out  his 
"  Cycloid  "  piano,  a  rather 
happy  compromise  between  a 
grand  and  sfjuare  piano,  in 
18()0,  the  firm  secured  a 
strong  hold  u})on  the  piano- 
buying  public.  The  Civil 
War  interfered  seriously 
with  a  more  rapid  develop- 
ment, and  it  was  left  to  Henry  to  push  the  firm  into  the  front  rank. 
Henry  Lindeman,  born  in  New  York  on  August  3,  1838,  was 
admitted  to  partnership  in  1857,  and  after  the  death  of  William 
Lindeman  on  December  2-1-,  1875,  assumed  the  management  and 
continued  the  work  of  his  father.  Henry's  son,  Samuel  G.,  was 
admitted  in  I'JOl,  and  the  firm  name  of  Henry  and  S.  G.  Lindeman 
was  adopted. 

In  1838,  shortly  after  Lindeman 's  appearance  in  the  arena^ 
Johann  Heinrich  Schumacher,  who  changed  his  name  to  John 
Henry  Schomacker  for  expedience'  sake,  established  himself  in 
partnership  with  A\'iHiani  Bossert  in  Pliiladeli)hia.  Schomacker, 
born  in  Schleswig-IIolstein  on  January  1,  1800,  learned  piano  mak- 
ing in  the  master  schools  of  Vienna.     About  1830  he  established 


Uciiry  Lindomau 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


281 


himself  at  Lalir,  Bavaria, 
and  came  to  America  in 
1837.  For  one  year  lie 
worked  with  E.  N.  Scherr, 
one  of  Philadelphia's  best- 
known  makers  of  those  days. 
Schomacker  was  not  only  an 
excellent  and  thorough  piano 
maker,  but  also  a  very  force- 
ful man  with  almost  bound- 
less ambition.  His  partner 
was  conservative  and  per- 
fectly satisfied  with  a  mod- 
erate income.  Schomacker 
finally  decided  to  go  his  own 
way,  and  the  partnership 
was  dissolved  in  1842.  With 
restless  energy  Schomacker 

first  improved  his  pianos,  and  in  1845  he  was  awarded  the  silver 
medal  of  the  Franklin  Institute  of  Philadelphia  for  the  ''  best  '^ 
piano  exhibited.  At  the  American  Institute  Exhibition  in  New 
York  in  1848,  he  received  the  first  prize,  a  silver  medal,  in  com- 
petition with  a  number  of  American  pianos,  and  at  the  great 
World's  Fair  at  the  Crystal  Palace  in  New  York,  in  1853,  he  carried 
off  the  gold  medal.  To  meet  the  demands  of  his  ever-growing  busi- 
ness, he  erected  in  1855  the  great  factory  which  stands  to-day  at 
Catherine  and  Eleventh  streets,  Philadelphia.  In  1856  he  organ- 
ized his  business  into  a  close  corporation  under  the  title 
of  Schomacker  Piano  Company.  With  his  ambition  satisfied, 
he  quit  the  field  of  activity  in  1872,  and  died  on  January  16, 
1875. 


John  Henrv  Schomacker 


oqo 


nWoS  AXD  TITEFR   MAK'KKS 


His  son,  Henry  C.  Sclio- 
mncker,  born  in  riiiladelpliia 
in  May,  1840,  soixcd  his  aj)- 
pronticesliip  under  liis  father 
and  sjtent  several  years  iu 
(Jennany,  stndyinu'  n!ider 
tlie  h'adinu'  masters.  The 
eoni[)aiiy,  nn(h'r  ilie  able 
management  of  I.  I>.  Wood- 
ford as  i)resident,  and  Henry 
(\  Scliomacker  as  secretary, 
is  maintainini;'  the  giorv  of 
tlie  old  firm,  producing  most 
excellent  pianos  of  the  high- 
est order. 

While  Liudeman  in  New 
York  and  Scliomacker  in 
Pliiladel})hia  earned  laurels 
for  the  German  school  of 
piano  making,  William  Knabe  was  busy  preparing  himself  for  his 
great  career  in  JJaltimore.  Born  at  Kreutzberg,  Germany,  in  1803, 
ho  received  a  superior  educntion.  intending  to  follow  a  learned  pro- 
fession. When  the  time  for  ultimate  decision  came,  AVilliam  pre- 
ferred, however,  to  learn  the  art  of  piano  making.  He  served  the 
custonuiry  ap-prcnliceshii)  and  ac^piired  further  ex})erience  while 
working  foi-  \aiious  masters  in  Germany.  Coming  to  Baltimore  in 
1833,  he  foniid  an  engagement  with  Henry  Hartje,  who  had  won 
ipiite  a  rei»utation  as  an  inxentor.  Conservative  and  careful,  Knabe 
waited  until  ho  hnd  mastoi"od  the  English  language  and  had  be- 
come thoroughly  familiar  with  the  business  conditions  of  the  new 
country.     It   was,  therefore,  not  until  1839,  that  he  ventured  in 


MEN  WHO  HAVE  MADE  PIANO  TTISTOl^Y 


283 


business,  associating  liim- 
self  witli  another  German 
l)iano  maker,  Henry  Gaelile, 
under  the  iirm  name  of 
T\nabe  &  Gaelile.  Tlie  en- 
terprise was  moderately 
successful  and  the  associa- 
tion continued  until  1854, 
when  Gaelile  withdrew. 
From  tliat  time  on  Knabe 
was  able  to  demonstrate  his 
exceptional  ability  as  a 
piano  maker  and  business 
man  without  hindrance.  His 
jjianos  were  second  to  none 
in  the  market,  and  he  han- 
dled the  commercial  end  of 
his  business  so  cleverly 
that  by  1860  his  firm  almost  controlled  the  entire  market 
of  the  southern  States.  The  Civil  War  temporarily  destroyed 
that  market,  and  the  firm  of  AVilliam  Knabe  &  Company  went 
through  a  trying  period  for  over  five  years.  Wearied  from  over- 
anxiety,  care  and  worry,  Knabe  passed  away  in  1864,  leaving  the 
care  of  the  great  business,  which  he  had  founded  and  built  up  to 
magnificent  proportions,  to  his  sons,  William  and  Ernest.  Both 
had  enjoyed  a  most  liberal  education  and  had  been  thoroughly 
trained  by  their  father  in  the  art  of  piano  making.  William,  being 
by  nature  of  a  quiet,  retiring  disposition,  took  ujion  himself  the 
management  of  the  factories,  while  Ernest  assumed  without  any 
wavering  the  grave  responsibilities  as  head  of  the  house.  When 
Ernest  Knabe  took  the  reins  the  outlook  was  very  gloomy.  Not 
only  was  their  main  market,  the  rich  southern  States,  entirely 


Ernest  Knabe 


284  TMAXOS  AXD  TTIEIK  AlAKEKS 

(Icstroyod  hy  tlio  Civil  \\';ir  liicii  r;lli■i^,^■,  l)iit  tlicir  ciistoniors  for 
the  same  reason  could  not  meet  their  obligations.  The  work  in 
the  big  faetory,  witli  its  hundreds  of  employees,  dragged  along  in 
an  uncertain  \va\  and  llic  day  seomed  to  be  near  when  the  fac- 
tories would  liave  lo  he  leniporariiy  closed. 

Ernest  fouTid  a  solution.  Tie  concluded  to  make  a  prolonged 
trip  through  the  northern  and  western  States  which  were  not  so 
seriously  affected  by  the  wai',  determiiuMl  to  establish  agencies 
for  the  sale  of  his  j)ian()s  in  this  new  territory.  Money  had  to 
be  lU'ovideil  to  meet  the  weekly  payroll  during  his  absence.  He 
boldly  went  to  his  bank  and  asked  for  a  credit  of  $20,000  for  the 
term  of  six  months.  Considering  the  critical  times,  such  a  demand 
upon  a  bank  in  the  city  of  Baltimore  was  almost  preposterous, 
and  when  finally  the  banker  asked  Ernest  what  security  he  had  to 
otTer  and  the  reply  came,  "Nothing  but  the  name  of  Knabe,"  the 
banker  shook  his  head  and  told  the  young  man  that  he  would  sub- 
mit the  x)roposition  to  his  board  of  directors.  They  decided  that 
under  existing  conditions  the  loan  could  not  be  made.  When 
delivering  this  ultimatum  lo  young  Ernest,  the  banker  questioned 
him  as  to  what  he  could  or  would  do.  Knabe  answered  promptly, 
"  I  shall  go  down  to  my  factory  and  tell  my  employees  that  I  am 
compelled  to  discharge  them  all  because  your  bank  refused  a  loan 
to  which  I  am  entitled,"  then  took  his  hat  and  left  the  banker  to 
his  own  contemplations.  lief  ore  he  reached  his  factory  office  a 
messenger  i'nnn  the  bank  had  ari'ived  there  with  a  letter  from 
the  president,  stating  that  the  account  of  Knabe  &  Company  had 
been  credited  with  $20,000,  to  be  drawn  against  as  wanted. 

Ernest  did  not  go  back  to  the  bank,  ))ut  packed  his  trunk  and 
went  on  his  journey.  "Within  two  months  he  had  sold  enough 
pianos  and  opened  up  sufficient  connections  to  keep  his  factories 
busy  to  their  limit,  and  when  he  returned  home  he  called  on  his 
banker  to  thank  him  for  the  loan,  of  which  his  firm  had  not  been 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  285 

obliged  to  use  a  single  dollar.  Ernest  Knabe  knew  that  just  at 
that  time  tlie  banks  of  Baltimore  could  not  afford  to  have  the 
doors  of  the  city's  greatest  industrial  establishment  closed  and 
hundreds  of  men  thrown  out  of  employment,  for  lack  of  funds, 
and  he  won  out  against  the  timid  and  shortsighted  banker. 

An  era  of  great  activity  now  commenced  for  the  firm  of  Knabe 
&  Company.  A  branch  house  was  opened  in  New  York,  and  later 
one  in  AYashington,  Ernest  Knabe  designed  new  scales  for  con- 
cert grands  and  upright  pianos.  Additional  factories  were  built 
and  equipped  with  the  best  of  modern  machinery,  in  order  to  pro- 
duce pianos  in  keeping  with  the  reputation  of  the  firm  as  leaders 
in  the  industry.  Wherever  the  Knabe  pianos  have  been  exhibited 
they  were  invariably  awarded  high  prizes  for  superior  construc- 
tion and  workmanship,  notably  so  at  the  great  Centennial  Expo- 
sition in  Philadelphia  in  1876,  where  their  large  concert-grand 
piano  was  greatly  admired.  Leading  virtuosos  like  D  'Albert,  Saint- 
Saens  and  many  others  used  the  Knabe  grand  pianos  in  their  con- 
certs and  were  enthusiastic  in  their  praise  of  the  Knabe  tone 
quality. 

A  princely  entertainer,  Ernest  Knabe  was  an  enthusiastic  lover 
of  music.  He  would  often  take  the  noon  train  from  Baltimore  to 
New  York,  consult  with  his  New  York  manager  while  eating  din- 
ner, go  to  the  opera  to  hear  Sembrich,  Lehmann  or  Niemann  sing, 
or  attend  a  Rosenthal  or  Joseffy  concert,  return  by  midnight  train 
to  Baltimore  and  appear  the  following  morning  bright  and  early 
at  the  factory  or  city  warerooms  to  take  up  the  every-day  routine 
of  work.  He  was  an  indefatigable  worker  and  seemed  never  to 
tire.  Of  a  most  genial  disposition,  warm-hearted,  helpful,  he  was 
adored  by  his  workmen  and  beloved  by  all  who  knew  him. 

In  the  midst  of  the  greatest  developments  misfortune  came 
upon  the  house.  William  Knabe  died  suddenly  in  January,  1889, 
at  the  early  age  of  48.     This  sad  event  doubled  the  burdens  of 


286  I'lAXoS  A.\l>  TIIEIK  ^FAKERS 

Ernest  and  he  suf(  uniltcd  lo  the  iiicvit;i1tlc  icsnll  of  over-exertion 
(HI  April  !'"•.  l"^!'-!-.  l*]rii('st  I\iial)e  liad  v\rv  hccii  one  of  llic  strong 
iiiliai^  ul"  llir  |iiaii(»  iii<lu>ti\.  oii  intimate  terms  willi  liis  competi- 
tors, eiiioviiiu-  the  close  ri-icii(l>liip  oT  William  Slciiiway,  Albert 
^\'(■l»(•l■  and  other  leaders,  lie  left  a  ,i;ap  whleli  could  not  easily 
lie  lilled.  Tlie  great  l)usiness  was  turned  into  a  corporation  wliicli 
linall\-  Joined  the  Aniei-ican  Tiano  Conipanx',  nnder  whose  care 
the  traditions  ol'  the  hoU>e  are  re\erentl\-  safeguarded. 

Among  tlie  historic  Boston  firms,  the  llallet  (S:  Davis  Piano 
Comi»any  can  trace  its  origin  to  the  year  18.'>."3,  when  iirown  (S: 
llallet  >larte(l  in  hu>iness.  Brown  was  a  graduate  of  the  Chick- 
ering  lactoix  and  obtained  several  ])atents  for  improvements.  He 
retired  from  the  lirni  in  1M'.>,  and  his  place  was  taken  by  George 
TI.  Davis,  the  firm  changing  to  Hallet,  Davis  &  Comi)any,  under 
which  title  it  continued  witli  more  or  less  success.  After  the  death 
of  George  H.  Davis  on  l)eceml)er  1,  187I»,  the  business  was  incor- 
poiated.  I'lKlei'  the  management  of  E.  X.  Kimball  as  president, 
C  C  Conway,  treasurer,  and  E.  E.  Conway  as  secretary,  the  con- 
cern has  recovered  its  old-time  ])restige  and  is  counted  among  the 
most  progressive  of  the  present  day. 

During  the  decade  from  ^H'M)  to  1840  a  coterie  of  piano  makers 
li\-e(j  at  Albany,  whose  inllnence  uytou  the  ])iano  industry  of 
Aiuei-ica  has  been  of  a  lasting  charactei'.  .lohn  Usborn  came  from 
lioston  in  1821)  and  made  pianos  for  Meacham  c^'  Company,  dealers 
ill  iiiu-ical  inst  ruiiients.  E.  i*.  Ijurns  studied  under  Osborn  in 
jMeachain's  shop,  which  probably  was  the  first  piaiK^  factory  west 
of  New  \'ork  City,  Henry  llazellon  came  from  Xew  \  ovk  to  work 
for  P>oai'(hnan  iS:  Gi-ay.  James  TT.  Grovesteen,  founder  of  Grove- 
steen,  l'"ullei-  eV  ('onipany  of  Xew  York,  came  to  Albany  in  1839 
and  started  to  make  jnanos  in  1840.  A.  C.  James,  later  of  James 
c^'  TTohnstroiii,  Xew  ^'ork,  learned  piano  making  in  Grovesteen's 
shop  ami,  after  working  fur  lioardman  (ic  Gray,  became  a  memljer 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


287 


of  the  firm  of  Marshall, 
James  &  Ti'aver,  hiter  known 
as  Marshall  &  AVendcll. 
]\ryron  A.  Decker  was  also 
one  of  the  Albany  pioneers 
with  George  Gomph,  P, 
Peed  and  others.  F.  Friek- 
inger  made  pianos  in  1837, 
but  soon  after  started  action 
making  as  a  specialty.  His 
business  is  continued  by 
Grubb  &  Kosegarten  Broth-  | 
ers  at  Nassau,  N,  Y. 

Francis  Putnam  Burns, 
born  at  Galway,  New  York, 
on  February  6,  1807,  learned 
cabinetmaking  and  studied 
piano     making     under     the 

genial  John  Osborn.  In  1835  he  commenced  business  on  his 
own  account.  Of  an  artistic  temperament  and  an  excellent  me- 
chanic, he  would  never  permit  piecework  in  his  shop,  impressing 
his  workmen  with  the  idea  that  a  piano  is  a  work  of  art,  requiring 
the  most  painstaking  efforts,  without  regard  to  time  consumed  in 
its  construction.  While  ])ro(lucing  most  elegant  and  durable 
pianos.  Burns  did  not  accumulate  wealth,  and  when  the  Civil  War 
prostrated  business  he  could  not  stand  the  strain.  His  son  Edward 
M.  Burns,  who  was  serving  as  a  commissioned  officer  in  the  army, 
coming  home  disabled  for  further  activity  in  the  field,  had  to  as- 
sume the  management  of  the  business.  Although  the  United  States 
Government  retained  him  in  military  service  for  18  months 
after    peace    was    declared    and    desired    his     further    service 


Francis  Putnam  Burns 


288 


PTAXOS  AXD  TTlETfJ  ^lAKEES 


in  tlio  avmy,  yoimg  Burns 
felt  tliat  lilial  duly  dc- 
inanded  his  devotion  to  his 
i'atlier's  business.  He  picked 
ii|»  tile  rciiiiiniits  oi'  the  once 
floiiiisliiiiu-  business,  injected 
new  life  and  not  only  suc- 
ceeded in  maintaining  the 
higli  i'ei)utation  of  the  x)i- 
anos,  but  had  the  great  satis- 
faction of  s(iuaring  all  the 
okl  obligations  in  a  most 
honorable  manner.  It  was  a 
loss  to  the  piano  iiidusti-y  of 
.\.n)any  when  Edward  M. 
Burns  retired  in  1869  to  seek 
more  remunerative  activity 
in  anotlier  field. 
A  man  who  for  over  60  years  can  enjoy  the  respect  and  friend- 
>lii]»  of  his  com])etitors  in  business  must  be  a  strong  character,  with 
a  lova})le  disposition.  Such  was  Henry  llazelton,  born  in  Xew 
York  City  in  ^H^C).  He  served  a  seven  years'  apprenticeship  with 
Dubois  &  Stodart,  being  released  in  1831.  Soon  thereafter  he 
joined  the  Albany  colony,  and  in  1840  started  the  firm  of  Jiazellon, 
Talbot  *S:  T^yon.  Not  fuKilling  his  ex]iectations  at  Albany,  Hazelton 
ntuiiKMl  to  New  York  and  joined  his  brother  Frederick,  under  the 
liini  name  of  V.  &:  IT.  llazelton,  in  bS.lO.  Later  on  a  younger 
brolhcr.  .lolm,  was  admitted  to  partnershi])  and  the  firm  name 
changed  to  lln/.dton  Brothers.  All  three  brothers  were  artisans 
of  high  ordei',  who  eschewed  commercial  tactics,  de]iending  for 
ultimate  success  entirely  upon  the  high  quality  of  their  i)roduct, 


lltiirv  Hazelton 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


289 


and  to  this  date  the  firm  has 
a  strong  hold  upon  New 
York's  Knic'kerboeker  aris- 
tocracy as  a  clienteh',  in 
whose  circles  grandmother's 
piano  bears  the  name  of 
Hazelton.  After  the  death 
of  the  founders,  the  business 
came  under  sole  control  of 
Samuel  Hazelton,  who  had 
enjoyed  a  thorough  training 
with  his  uncles  and  was  made 
a  member  of  the  firm  in  1881. 
He  is  ably  assisted  by  his 
son  Halsev  in  maintaining 
the  traditions  of  the  re- 
si)ected  firm. 

Toward  the  close  of  the 
18th  century  a  Vienna  piano  maker  in  his  wandering  arrived 
at  Naples,  Italy.  Somehow  attracted  by  the  place,  he  made 
it  his  home  and  began  to  make  pianos,  which  found  favor  with 
the  court,  and  young  Fischer  was  appointed  "  Piano  maker  to 
King  Ferdinand  I,  of  Naples."  He  taught  his  art  to  his  son, 
who  afterward  studied  for  a  number  of  years  with  Vienna  mas- 
ters, and  upon  his  return  to  Naples  continued  the  father's 
business.  His  two  sons,  John  V.  and  Charles  S.  Fischer,  fol- 
lowed in  the  footsteps  of  father  and  grandfather,  becoming- 
expert  piano  makers.  The  inborn  ''  wanderlust  "  of  the  Fischers 
landed  these  two  young  men  in  New  York  City  in  1839.  Taking  at 
once  employment  with  "William  Nunns,  they  became  his  partners 
soon  thereafter  under  the  firm  name  of  Nunns  ct  Fischer.    Nunns 


Charles  S.  Fischer 


290 


IMAXOS  AX:^  TTTFJU  ^[AKERS 


i-ctlrcd  ill  JS4(),  and  the  lirm 
was  changed  to  .1.  cV  ('. 
l-'ix'hcr.  Uuildiiii;'  a  reliable 
]iiaii<t,  t licy  sDoii  acciiiiiulatcil 


i-'icderick  1'.  J^ticll" 


great  wealth,  and  in  1873 
John  U.  Fiseliei'  retired  witli 
a  competency,  to  spend  llie 
rest  of  his  days  in  his  home- 
land, Italy.  Charles  S.  then 
admitted  liis  four  sons,  wlio 
had  been  thoroughly  trjiined 
in  all  branches  of  the  busi- 
ness, to  ])artnerslil]).  Tlie 
vigorous  activity  of  the 
young  men,  under  the  wise 
guidance  of  their  father, 
brought  them  rajjidly  to  the 
front  as  great  producers,  in- 
creasing their  yearly  output  to  5,000  pianos,  at  the  same  time 
studiously  imiiroving  the  (puUity.  In  11HI7  the  firm  was  changed  to 
a  corporation. 

Ihigh  llardman,  who  was  born  at  Liveri)ool.  England,  in 
1815,  came  to  the  Tnited  States  and  began  to  make  pianos  iu 
New  ^'oik  City  in  1840.  His  son  John  was  admitted  to  part- 
nership about  1874.  This  firm  was  among  the  first  to  manufacture 
good  commei'cial  upright  i>ianos,  and  met  with  distinctive  success. 
In  issi)  Leopold  Peck  bought  an  interest  in  the  firm,  the  name 
being  clianged  to  llardman,  Peck  &  Com])any.  Under  Peck's 
able  management  the  fii-m  has  risen  to  a  recognized  position  among 
the  makers  of  high-grade  pianos,  their  instruments  ranking  among 
the  best  in  the  nuirket. 


MEN  AYllO  HAVE  MADE  PIANO  IIISTOEY 


291 


To  cliaiigc  from  tcacliing 
music  and  languages  to  deal- 
ing in  ])ianos,  and  finally  to 
become  the  founder  of  one  of 
the  largest  and  most  re- 
spected piano  manufacturing 
firms,  was  the  career  of 
Charles  M.  Stieff.  Born  in 
AVurtemburg-  on  July  19, 
1805,  Stieff  was  educated  at 
Stuttgart.  In  1831  he  emi- 
grated to  America  and  set- 
tled at  Baltimore,  where  he 
took  the  chair  in  Haspert's 
school  as  professor  of  lan- 
guages and  also  acted  as 
leader  of  a  church  choir.  In 
1812   he   imported   his   first 

pianos  from  Germany,  and  opened  regular  piano  ware  rooms  on 
Liberty  Street  in  1813.  Observing  the  success  of  the  various  i)iano 
manufacturers  in  Baltimore,  Stieff  undertook  an  extensive  trip  to 
Europe  in  1852,  studying  the  methods  of  the  best  piano  manufac- 
turers there.  Upon  his  return  he  admitted  his  sons  into  partner- 
ship and  started  the  manufacture  of  the  "  Stieff  "  piano,  intrust- 
ing the  management  of  the  factory  to  Jacob  Gross,  an  expert  piano 
maker  of  the  old  school. 

Born  in  AVurtemburg  on  July  26,  1819,  Gross  learned  his  trade 
in  Stuttgart  and  afterward  worked  in  some  of  the  leading  fac- 
tories of  Germany,  Switzerland,  Spain  and  Paris.  Coming  to 
America  in  1848,  he  familiarized  himself  with  the  methods  pre- 
vailing here  and  joined  his  brother-in-law,  Stieff,  in  185G.  It  was 
an  excellent  combination,  the  professional  musician  and  business- 


Jacob  Gross 


292 


PIAXOS  AXI)  TITKTl?  ^FAKEKS 


iiiaii,  Stieff,  sn])i)orted  l)y  the 
artistic  piano  maker  and  fac- 
tory expert,  Gross.  The 
product  of  the  firm  was  at 
once  accepted  as  of  superior 
merit  and  received  distin- 
guished awards  wherever  ex- 
hibited. The  founder  of  the 
lii'm  having  passed  to  the  un- 
known l)eyond,  the  business 
is  carried  on  most  success- 
fully l)y  his  sons,  Charles 
and  Frederick  P.  Stieff,  the 
technical  management  of  the 
factories  being  in  the  hands 
of  Charles  J.  Gross,  who  was 
educated  by  his  father,  the 
late  Jacob  Gross.  It  was  re- 
markable that  the  great  fire  which  destroyed  nearly  the  entire  busi- 
ness portion  of  the  city  of  Baltimore  in  lOO-t  should  stop  short  in  its 
northward  flight  on  the  wall  of  the  Stieff  Imilding,  on  North  Li))- 
erty  Street,  just  as  if  it  had  had  respect  for  this  landmark  where  the 
Stieffs  had  sold  pianos  for  Go  years.  The  firm  of  Charles  M.  Stieff 
distributes  its  products  almost  entirely  through  its  own  stores, 
which  are  to  l)e  found  in  every  prominent  city  of  the  southern 
States,  as  well  as  at  Boston  and  elsewhere. 

Following  the  chronological  order,  we  find  that  Christian 
Kurtzmann  established  a  piano  factory  in  Buffalo  in  1848.  After 
liis  death  in  1886,  the  business  was  taken  over  by  a  corpo- 
ration. 

William  P.  Fmerson,  who  stai'ted  in  Boston  in  1849,  had  perhaps 
more  business  acumen  than  mcclianical  talent  and  artistic  inclina- 


C'liristian   Kiutzmaiin 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


293 


tions.  He  started  to  make  a 
]ow-pi'ieed  iiistruuieiit  and 
built  up  a  very  large  and 
profitable  business  within  a 
few  years.  In  1854  lie  en- 
gaged C.  C.  Briggs,  an  ex- 
pert ]iiano  maker  of  stand- 
ing, to  improve  the  piano, 
whicli  was  accomplished 
with  sneli  success  that  a 
reputation  for  superior  qual- 
ity was  soon  establislied 
and  the  name  of  Emerson 
became  a  valuable  trade- 
mark. Emerson  died  in 
1871,  and  the  business  came 
into  possession  of  William 
Moore,  who  sold  his  interest 

in  1879  to  P.  H.  Powers,  0.  A.  Kimball  and  J.  Gramer.  They 
organized  the  Emerson  Piano  Company,  with  Patrick  H.  Powers 
as  president.  Under  his  able  management  the  business  grew  to 
commanding  proportions.  The  product  was  continually  im- 
proved to  maintain  its  position  as  a  high-class  instrument,  and 
the  comi)any  enjoyed  an  enviable  reputation  for  integrity  and 
reliability. 

P.  H.  Powers  retired  from  active  management  in  1910,  at  the 
age  of  84,  after  a  most  distinguished  career  as  a  business  man, 
covering  a  period  of  60  years.  He  is  succeeded  in  the  presidency 
by  Edward  S.  Payson,  who  assisted  Powers  for  many  years  as 
acting  secretary  of  the  company. 

In  the  old  town  of  Milton,  where  Crehore  built  his  first  piano, 
James  Whiting  Vose  was  born,  on  October  21,  1818.    Learning  the 


294 


PIAXOS  AXD  TITETR  ?^1AKEES 


%^' 


ij/u-LiA-K^Yo**^' 


/(j^Uk  A-  /W^^ 


cnbi  net  maker's  irado,  he 
soon  became  a  i)iaiio  maker, 
i>('ttiiig-  liis  experience  in 
various  Boston  factories. 
In  1851  lie  made  liis  first 
l)iano,  and  laid  tlie  i'ounda- 
tiou  for  a  lousiness  wliicli  is 
coiuited  amon.ii,'  the  leaders  of 
the  American  ])iano  indus- 
try. Educatiuij;-  liis  tliree 
sons  in  all  branches  of  the 
business,  he  admitted  tliem 
to  i)artnersliip  and  clian^i;ed 
tlie  name  to  Vose  k  Sons. 
In  1889  the  concern  was  in- 
corporated, the  stock  being- 
owned  l)y  the  Vose  family. 
James   W.    Vose    served    as 


first  president  of  the  Vose  &  Sons'  Piano  C'ompany  for  a  numlier  of 
years.  After  liis  retirement  his  eUk^st  son,  AViliard  A.  Vose,  suc- 
ceeded him  as  president  and  manager,  with  marked  ability,  main- 
taining and  improving  the  distinguished  standing  of  the  Vose 
piano. 

( )n('  of  llic  most  interesting  characters  in  tlie  history  of  Ameri- 
can piano  makers  is  Napoleon  J.  Haines.  Born  in  London  in  1824, 
he  came  to  New  ^'ol•k  wlieii  eight  years  of  age.  He  made  the  trip 
across  the  .Vtlantic  alone  with  his  vounger  brother  Francis.  His 
fnthei',  who  had  ])receded  the  boys  to  New  Vork,  had  ])aid  the 
sliii)'s  steward  lliiity  (hollars  to  assure  good  meals  for  the  young- 
sters. Na])oleon,  awaic  of  that  fact,  o))jected  to  the  i)Oor  coffee 
and  "  hard  tack  "  willi  which  the  steward  regaled  the  boys,  throw- 
ing the  stulf  overboard  an  I  demanding  "  sometliing  fit  to  eat." 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


295 


He  caused  siicli  a  distui'b- 
ance  that  the  captain  was 
called,  who  i)roinptly  sided 
with  the  rebellious  boy  and 
admonished  the  steward  to 
do  his  duty  henceforth.  It 
is  said  that  young  Haines 
after  his  arrival  in  New 
York,  not  from  necessity,  but 
from  his  desire  to  make 
headway,  earned  money  as  a 
bootblack  after  school  hours. 
Whether  that  is  true  or  not, ' 
young  Napoleon  certainly 
always  demonstrated  a  rest- 
less disposition  and  a  desire 
to  advance.     At  the  age  of  "^'^"'"^  ^^'^"""^  ^'°'*' 

fifteen  he  apprenticed  himself  and  brother  to  the  New  York 
Piano  Manufacturing  Company,  learning  all  branches  of  the  art. 
In  1851  he  started  in  business  with  his  brother  under  the  firm 
name  of  Haines  Brothers.  Beginning  with  an  output  of  two  pianos 
per  month,  their  business  soon  assumed  large  proportions,  so  that 
the  erection  of  a  factory,  with  a  capacity  of  20  pianos  per  week, 
became  necessary  in  1856. 

Napoleon  J.  Haines  was  a  thorough  piano  maker,  whose  name 
is  also  on  record  as  an  inventor  in  the  United  States  Pate:it  Office, 
but,  besides  that,  he  was  a  born  financier  and  shrewd  business 
man.  One  of  the  founders  of  the  Union  Dime  Savings  Bank  of 
New  York,  he  served  as  vice-president  and  president  of  that  great 
institution  for  21  years.    Napoleon  J.  Haines  died  April  19,  1900. 


The  business  has  been  merged  with  that  of  the  American  Piano 


296 


PTAXOS  AXI)  TIIKIIJ  MAKERS 


rompany,  under  wlio>^o  aus- 
pices tlio  ilaiiios  l)i-otliei's 
j)iaii()  Is  pi-odiiccd  in  larger 
quantilics  tliaii  i-vlt. 

Real  genius  always  loaves 
an  indelil)le  mark  in  its 
sphere  of  activity,  and  its 
inllucnce  is  as  lasting  as  it 
is  ]>orinoating  at  ilic  lime 
of  its  I)ii-t]i.  To  observe  a 
man  rising  from  the  lowest 
rung  of  the  ladder  to  the 
height  of  a  most  ])romi- 
nent  manufacturer,  educat- 
ing himself  meanwhile  to 
become  a  musician  of  ac- 
knowledged talent  and  ver- 
1  land  ling  complex  financial  ]iroblems  with  masterly 
daring  and  withal  acquiring  a  position  of  social  influ- 
ence, requires  a  combination  of  talents,  an  exercise  of  will- 
]iower  and  self-denial  seldom  found.  Albert  Weber,  Ijorn  in 
Bavaria  .Inly  8,  1828,  landed  in  Xew  Yoi-k  when  10  years  of  age. 
Endowed  with  a  lil)eral  education,  he  had  a  good  knowledge  of 
music,  playing  the  organ  eiliciently.  Attracted  to  the  art  of  piano 
making,  he  went  tlirongh  a  regular  a])])renticeshi])  with  ^faster 
11m|(|cii  (if  Xew  ^'()rk,  and  later  worked  in  the  celebrated  shop  of 
\'an  Winkle.  'I'o  pa\'  liis  bonid,  y(mng  Weber  gave  music  lessons 
evenings,  and  placed  the  organ  at  eliurcli  on  Sundays.  A\'lien  23 
years  of  age  he  staite(|  in  business  with  a  very  small  capital.  Fire 
destroyed  his  sho])  during  the  tliird  year  of  his  existence  as  a 
piano   mannrarturer.     Nothing   <laniited,   he   rented  much   larger 


NaiKilcdii  J.   llaiiic's 


Satlllt  V 


MEN  WHO  HAVE  ^^lADE  PIANO  HISTORY 


29^ 


Albert  Weber 


quarters  and  within  a  short 
time  acquired  a  leading  posi- 
tion among  the  i)iano  firms 
of  New  York  City.  His  en- 
ergy and  ambition  knew  no 
bounds.  In  1869  he  opened 
extensive  warerooms  at 
Fifth  Avenue  and  Sixteenth 
Street,  a  move  which  aston- 
ished his  competitors  by  its 
very  boldness.  Weber  had 
invaded  the  abode  of  New 
York  swelldom,  with  charac- 
teristic foresight,  judging 
the  future  importance  of 
this  thoroughfare  as  a  cen- 
ter of  fashionable  establishments'.  With  this  move  his  aggressive 
campaign  for  supremacy  in  the  i)iano  world  commenced. 

Although  not  given  to  inventing  or  creating  anything  new  in 
piano  construction,  Weber  was  such  a  thorough  piano  maker,  and 
perfect  performer  on  the  piano,  that  he  knew  how  to  utilize  the 
best-proven  methods  of  construction.  He  would  engage  at  any 
cost  the  best  workmen,  the  best  talent  to  be  found  among  inano 
makers,  neither  would  he  spare  any  expense  or  reckon  the  cost 
of  any  real  improvement  in  the  tone  or  general  quality  of  his 
pianos.  He  inspired  his  men  to  take  pride  in  their  work.  The  result 
was  that  he  produced  pianos  which  were  acknowledged  second  to 
none,  and  preferred  by  many  leading  virtuosos,  especially  by 
opera  singers^  for  their  sympathetic  musical  tone. 

Because  of  his  acute  and  musically  trained  hearing  he  succeeded 
in  producing  in  his  pianos,  through  his  expert  workmen,  what  he 


298  n.WoS  A\l)  TllKlR  MAKEKS 

prondly  called  the  "  AVebor  tone."  M'o  listen  to  liis  inlaying  for  a 
])ru.>})(.'eti\L'  (.•ustuini'i-  was  a  treat  indeed,  and  seldom  would  an 
iiiteiidiim-  l)iiy(>r  leave  liis  wai"(M-oonis  witliout  liavin,t>'  secured  a 
piaiKi.  The  iiiairs  cut  ImsiaisiH,  the  real  Ittxc  Tor  his  piano  was 
so  intense,  so  genuine  that  lie  impressed  the  same  on  evei-y  ))erson 
who  would  listen  to  his  jjlaying.  Well  read,  a  keen  observer  oi' men 
and  things,  W(^bei"  was  a  most  interesting  entertainer.  TTis  ready 
wit  became  proverbial  and  ol'tentimes  ser\'ed  to  clear  uni)leasant 
situation-.  I'oi-  example,  when  during  the  strike  of  the  journey- 
men for  higher  wages,  shorter  hours,  etc.,  a  conuuittee  of  the  work- 
men met  with  tlie  assembled  mnmifacturers,  submitting  their  most 
iinicasonable  demands,  the  latter  were  dumbfouuded  by  the  bold- 
ness of  the  men.  Webei'  liroi.e  the  silence,  com})limented  the  men, 
arguing  that  it  was  their  })ri\'ilege  to  ask  for  all  that  they  might 
want,  but  in  his  o])inion  they  had  not  asked  enongh — they  had  for- 
gotten to  ask  foi-  free  Saturday  afternoons  with  full  i)ay,  so  that 
they  could  j)lay  tenpins,  the  bosses  to  i)ay  for  the  beer  and  set  up 
the  pins  for  the  men.  With  this  remark  he  took  his  hat  and  left 
the  conference.  The  strike  was  called  off.  With  his  timely  sar- 
casm Weber  had  shown  the  men  the  ridiculousness  of  their  de- 
mands and  had  turned  the  embarrassing  conference  into  a  merry 
laughter. 

Many  p)ertinent  anecdotes  could  l)e  cited  to  illustrate  the  quick- 
working  mind  of  this  remarkable  man.  He  had  one  serious  short- 
(•(Muing,  howevei',  which  tinally  caused  his  untimely  end.  Cease- 
lessly planning  to  extend  his  business  and  enlarge  his  personal 
influence,  Weber  did  not  surround  himself  with  sufficient  competent 
assistants  who  could  relieve  him  fi'om  dreary  detail  work,  and  con- 
sequently the  management  of  his  great  factory,  of  the  wholesale 
and  retail  de|)ai-tments,  all  of  the  financial  affairs — in  short,  every 
detail  of  his  great  business — rested  upon  his  shoulders.    Working 


MEN  WHO  HAVE  ^[ADE  PIANO  HISTORY  299 

from  morning  until  evening  at  his  business,  he  would  attend  opera, 
theaters  and  clubs  at  night.  Being  of  a  decidedly  Bohemian  tem- 
perament, he  enjoyed  the  gay  life  of  New  York  among  brilliant 
men  and  women,  but  the  everlasting  strain  was  too  much,  even  for 
this  nervy  man,  and  he  succumbed,  at  the  age  of  50,  on  June  25, 
1879,  to  the  overtaxing  of  his  brain  and  body. 

The  great  business  which  he  has  founded,  the  great  name  which 
he  made  for  his  piano,  are  becomingly  perpetuated  by  the  Weber 
Piano  Company,  a  corporation  affiliated  with  the  Aeolian  Com])any 
of  New  York.  The  fame  of  the  Weber  piano  has  extended  to  all 
the  art  centers  of  the  globe  to  such  an  extent  that  the  erection  of 
a  mammoth  factorv  in  London  has  become  a  necessitv,  in  order 
to  supply  the  ever-growing  foreign  trade.  The  name  of  Albert 
Weber  will  live,  as  long  as  pianos  are  built  in  America,  as 
one  of  the  great  leaders  who  believed  in  the  artistic  mission  of 
the  instrument  and  impressed  this  belief  upon  the  mind  of  the 
public. 

History  teaclies  that  hardships,  adverse  conditions  and  trying 
circumstances  are  the  making  of  great  men.  Henry  Engelhardt 
Steinweg's  career  is  a  confirmation  of  this  doctrine.  Born  at 
Wolfshagen,  Germany,  as  the  twelfth  child  of  a  strong  mother 
and  a  respectable  father  on  February  5, 1797,  he  had  to  pass  during 
his  youth  through  all  the  miseries  and  privations  brought  upon  a 
people  by  protracted  warfare.  Napoleon's  hordes  devastated  Ger- 
many, burned  up  the  Steinweg  home  and  killed  several  of  his 
'  brothers  in  battle.  To  fill  his  cup  of  misery  he  finally  lost  his 
father  and  remaining  brothers  in  an  accident,  from  which  he  alone 
escaped  as  by  a  miracle,  and  found  himself  an  orphan  at  the  age 
of  15,  without  home  or  shelter. 

At  18  years  of  age  he  was  drafted  for  the  army  and  took  part 
in  the  battle  of  Waterloo.  Eeturning  from  the  field  of  battle, 
he  found  the  soldier's  life  in  the  barracks  verv  drearv,  to  coun- 


300 


PIANOS  AND  TllElE  MAKERS 


teraet  which  he  managed  to 
build  a  zitlier,  upuii  which  he 
would  play  the  patriotic 
songs  of  the  time  accom- 
panied by  the  voices  of  his 
soldier  comrades.  Having 
never  handled  tools  nor  re- 
ceived even  elementary  in- 
struction in  music,  his  ac- 
com]ilishment  in  making  and 
playing  the  zither  clearly 
pointed  to  the  road  which  he 
was  to  travel  to  achieve 
fame  and  wealth. 

Having  served  his  time 
in  the  army,  lie  souglit  em- 
ployment with  a  cabinet- 
maker, but  being  then  21 
years  of  age,  and  engaged  to  a  lovely  girl,  he  did  not  cherisli 
the  idea  of  serving  a  five-year  apprenticeship  as  the  guild 
of  (';ibiii('lin;ik<'rs  demanded.  Tie  wanted  to  learn  the  use  of 
tools  to  build  nmsical  instruments,  and  we  find  him,  there- 
fore, soon  in  the  sho})  of  an  organ  builder  at  Seesen,  where 
he  also  lilk'd  the  place  of  organist  in  the  village  church.  In  1825 
he  mari'ied  the  woman  of  his  heart,  and  his  wedding  present  was 
the  Hist  piano  built  by  Steinweg's  own  hands.  It  was  a  fine 
instrument,  wliicli  soon  found  a  i)urcliaser.  Constructing  pianos, 
earniiiu'  his  daily  bread  by  repairing  organs  and  all  kinds  of 
musical  instruments,  Steinweg  prospered,  and  in  1839  exhibited  at 
the  fair  of  Brunswick  one  grand  and  two  square  pianos  of  his 
own  make.  Tlie  gi'eat  composer,  Albert  Methfessel,  played  on 
these  instruments  and,  as  chairman  of  the  jury,  recommended  that 


l!&U^t4J--^3LYj 


MEN  AVHO  HAVE  MADE  PIANO  HISTORY  301 

the  highest  prize,  a  gold  medal,  should  be  awarded  to  Steinweg  for 
his  superior  instruments.  It  is  said  that  the  Duke  of  Brunswick 
bought  the  grand  piano,  paying  therefor  the  large  price  of  3,000 
marks. 

Steinweg 's  reputation  as  a  master  piano  builder  was  now  estab- 
lished and  he  had  to  employ  workmen  to  fill  the  orders  which  he 
received.  His  sons,  Theodore,  Charles  and  Henry,  joined  him  in 
business  as  they  grew  to  maturity  and  the  prospects  for  the  future 
looked  very  bright,  when  suddenly  adversity  came  again  through 
the  political  upheaval  and  revolution  of  1848  and  1819,  which 
paralyzed  business  all  over  Germany.  The  second  son,  Charles, 
had  been  during  this  excitement  rather  active  in  the  ranks  of  the 
progressives,  or  revolutionists,  and  found  himself  compelled  to  flee 
as  soon  as  the  people's  cause  was  lost.  He  escaped  to  Switzerland 
and  went  by  way  of  Paris  and  London  to  New  York,  where  he 
landed  in  May,  1849. 

Charles  sent  such  glowing  reports  regarding  the  possibilities 
for  the  family  in  the  new  world  as  compared  with  their  homeland, 
and  urged  their  coming  to  America  so  strongly  and  persistently 
that  the  entire  Steinweg  family,  except  Theodore,  engaged  passage 
on  the  steamer  Helene  Sloman  from  Hamburg,  which  landed  them 
at  New  York  on  June  9,  1851.  Instead  of  venturing  into  business 
at  once,  Henry  E.  Steinweg  wisely  chose  first  to  gain  practical 
knowledge  of  the  language  and  business  methods  of  the  new  world. 
He  and  his  sons  accepted  employment  in  different  piano  factories. 
For  two  years  the  three  men  gathered  experience,  and  on  March  5, 
1853,  the  firm  of  Steinway  &  Sons  started  on  its  brilliant  career. 
The  very  first  step  in  that  direction,  the  changing  of  the  name  from 
Steinweg  to  Steinway,  showed  not  only  the  business  sagacity  of 
Henry  E.  Steinway,  but  also  the  strong  faith  which  he  had  in  his 
ability  to  build  a  better  piano  than  known  at  that  time.     Hence 


302  PIANOS  AND  TllKlK   MAKKRS 

lie  waiilfd  ;i  (li-tiiict  ti'adc mark,  wliidi  (Miiild  not  Ix'  imitated,  even 
i r  liis  pianos  should  l)e, 

l-'i-oni  the  begiimiiii;-  the  lii'iu  of  Steiiiway  ^:  ISoiis  was  a  happy 
coml>iiiatioii  (d'  \arions  tah'uts,  iiiakiiiii:  sneeess  iiii])erative.    TTenry 

E.  Stciiiwa)  was  an  experieiiei'd  piano  maker  and  carid'ul  l)usi- 
ness  man.  I  lis  son  ('harh's  nianaiicd  the  factory,  for  wliich  he  was 
emiiieiitly  litted,  .V  line  mechanic,  he  [)ussesse(l  a  iiiyhly  devel- 
o]ied  sense  foi'  exactness  and  systematic  orgaidzatioii,  while  the 
yoiuii^er  son  Henry  was  a  genius  as  an  inventor,  a  good  musician 
and  a  splendid  mixer  with  artists,  ])rofessionals  and  literary  men. 

At  the  Met  lopolitan  l"\-iii\  held  at  Washington,  1).  i\,  March, 
1854,  Steinway  cV  Sons  exhibited  a  square  piano  and  received  a 
])rize  medal,  hut  their  great  triuni])li  came  at  the  great  fair  of 
the  American  Institute  in  New  ^'ork  in  1855,  where  their  over- 
strung s(iuai-e  piano  with  full  iron  frame  created  a  sensation  in 
the  ))iano  world.  As  a  result  their  business  ex])anded  so  rapidly 
that  in  1851)  the  erection  of  that  manmioth  factorv  on  Fiftv-third 
Street  and  Fourth  Avenue,  New  York,  became  a  necessity.    Henry 

F.  Steinway  planned  the  factory  and  su])erintended  its  building. 
It  is  said  that  he  would  not  jiermit  a  beam  or  rafter  in  the  entire 
st  I  net  are  which  contained  a  single  knot  or  showed  the  least  im- 
perfection. The  precision  of  the  master  builder  dominated  in  what- 
ever he  did  ! 

Gradual iy  he  ]iermitted  his  sons  to  assume  the  responsibilities 
of  managing  the  affairs  of  the  great  business.  Successful  beyond 
his  fondest  dicanis  in  his  enter])rise,  Henry  F.  Steinway  had  to 
hear  tiie  deej)  sorrow  of  losing  his  faithful  co-woi-kers  and  beloved 
sons,  Charles  and  Henry,  in  the  ])rime  of  their  manhood.  This 
great  bereavement,  together  with  the  advancing  years,  began  to 
beai-  up(.n  that  strong  character,  who  had  fought  the  battle  of  life 
so  valiantl\-,  and,  aftei-  plajining  and  superintending  the  erection 
of  Steinway  Fall  in  ISfiC,  he  retired  more  and  more  from  active 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


303 


participation,  going  to  liis 
rest  on  February  7,  1871,  at 
the  age  of  74.  Beloved  by 
all  who  knew  him,  respected 
by  the  community  and  fa- 
mous as  an  inventor  and 
manufacturer  in  the  entire 
civilized  world,  a  self-made 
man  who  had  to  wring  suc- 
cess from  fate's  unwilling 
hand  under  most  trying  con- 
ditions, Henry  Engelhardt 
Steinway's  name  will  ever 
be  revered. 

His  eldest  son,  G.  F.  Theo- 
dore Steinway,  was  one  of 
those  who  show  great  bril- 
liancv  in  their  voutli,  but 
whose  genius  then  lies  dormant  for  a  number  of  years,  to  break  out 
with  irresistible  force  after  middle  life,  astonishing  the  world  witli 
their  accomplishments.  At  the  age  of  14  Theodore  was  an  accom- 
Ijlished  pianist,  so  much  so  that  he  was  given  the  task  of  showing  off 
his  father's  pianos  at  the  Brunswick  Fair  in  1839.  Enjoying  the 
advantages  offered  by  the  Jacobsohn  College  at  Seesen,  a  celebrated 
institute  of  learning,  he  studied  acoustics  under  Dr.  Ginsberg,  who 
took  great  interest  in  the  brilliant  boy,  in  return  for  which  Theodore 
built  the  models  needed  by  Dr.  Ginsberg  for  demonstration  in  his 
lectures  on  acoustics.  This  intimate  relation  to  the  scientist  in  his 
youth  prevented  Theodore  from  ever  becoming  a  mere  empiric. 
It  was  the  cause  of  the  restless  search  he  later  so  forcibly  demon- 
strated for  the  scientific  laws  underlying  the  construction  of  the 
pianoforte.    After  going  through  college,  he  went  to  work  at  the 


3U4  riAXoS  AXl)  TITF.IU  ^FAKERS 

beiicli  in  Ills  r;il]u'i''s  sliop,  and,  wlicii  tlio  family  sailed  for  Xew 
York  in  IS,")!,  lie  was  cliarg'od  with  windini;  np  the  affairs  of  busi- 
ness and  fuUowini;'  the.'  family.  I''ati'  decreed  othei'wisL'.  lie  met 
flic  only  maiil  whom  Ik^  wouhl  maiwy,  stayed  at  Seeseii  and  coii- 
linnc(l  the  i.n>iiie>s  fonndcd  liy  his  father.  Success  crowned  his 
efforts,  and  seeking'  a  larger  field  lie  removed  his  piano  factory 
t(.  r.innswick  in  IS.")!),  whei-c  he  hnilt  up  a  substantial  business. 
llowcNci-,  when  hi>  liiothers,  Charles  and  Henry,  died,  lilial  duty 
d('mand('(l  that  he  should  assist  his  fatliei-  in  Xew  ^"oi'k.  lie  sold 
his  l)ii-in('ss  1(1  thice  of  his  most  able  woi'kmen  and  became  a  part- 
ner in  the  linn  of  Steinway  ^:  Sons.  Xew  ^'ork.  Theodore  took 
ciiariie  of  the  construction  department,  and  commenced  those  revo- 
lutionary im])rovements  which  have  made  the  Steinway  a  synonym 
of  i»(M'f('ction  in  piano  huilding. 

Theodore's  inventive  and  constructive  genius  had  for  all  these 
years  been  tethered  by  the  eveiy-day  care  of  managing  all  de- 
partments of  his  Brunswick  factory.  Freed  now,  witli  unlimited 
ca])ital,  an  excellent  factory  organization  and  tlie  most  expert 
workmen  at  his  couunand,  Theodore  Steinway  had  opi)ortunity  sel- 
<lom  offei'e(l.  He  made  the  best  use  of  it.  Ste[)  by  step  he  invaded 
the  fiehls  of  modern  science,  investigating  and  testing  different 
kinds  of  w(K)d  in  order  to  ascertain  why  one  kind  or  another  was 
best  ada])ted  for  ])iano  construction,  then  taking  up  the  study  of 
iiictnllnrgy,  to  (ind  a  pro})er  alloy  for  casting  iron  plates  which 
would  stand  the  tremendous  strain  of  75,000  pounds  of  the  new 
concci-t-grand  piano  that  was  already  born  in  his  mind,  calling 
chemistry  to  his  aitl  to  estal)lish  the  scientitic  basis  for  felts,  glue, 
varnisli,  oil-,—  in  short,  nothing  in  the  realm  of  science  having  any 
bearing  on  piano  construction  w^as  overlooked.  Having  thus  laid 
his  foundation,  he  returned  to  Germany  to  be  near  Helmholtz  and 
Itenetit  by  that  great  savant's  epoch-nuiking  discoveries.  It  was 
but    natui'al    that    in    time    he    liecame    an    intimate    friend    of 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  305 

Helmlioltz,  and  the  world  was  benefited  by  that  friendship. 
Theodore  made  Brunswick  his  home  again,  going-  to  New  York 
at  regular  intervals  to  superintend  the  execution  of  his  inventions. 
At  his  Tusculum  in  Brunswick  he  had  one  of  the  most  complete 
collections  of  musical  instruments  of  every  character,  ancient  and 
modern,  and  he  knew  the  characteristics  of  each  so  well  that  it  was 
a  treat  to  listen  to  him  whenever  he  was  in  the  mood  to  show  and 
talk  about  his  gems.  To  widen  his  horizon  of  knowledge,  he  t^'av- 
eled  extensively,  meeting  the  shining  lights  of  science,  art  and 
literature  wherever  he  went.  Germany  was  just  then  in  its  great- 
est period  of  scientific,  artistic  and  industrial  Eenaissance.  Theo- 
dore profited  greatly,  being  a  keen  observer,  and  he  set  to  work 
to  bring  to  life  in  his  piano  the  discoveries  of  Helmlioltz,  Tyndall 
and  others.  The  crowning  result  was  his  Centennial  concert-grand 
piano,  with  the  duplex  scale,  bent-rim  case,  cupola  iron  plate  and 
improved  action  which  would  lift  that  heavy  hammer  made  of  23- 
pound  felt  by  the  slightest  touch  of  the  key,  setting  the  strings, 
which  were  of  a  length  and  thickness  heretofore  unknown,  in 
vibration. 

Theodore  was  an  intense  and  enthusiastic  worker.  Once  en- 
gaged upon  a  problem,  he  knew  no  limit  of  time.  The  author  has 
often  discussed  problems  of  jiiano  building  with  him,  the  experi- 
mental i)iano  before  us,  until  the  early  morning  hours.  Physically 
and  mentally  very  forceful,  imbued  with  quiet  Teutonic  strength, 
he  aimed  to  create  a  piano  which  would  respond  to  the  demands 
of  the  modern  dynamic  compositions  of  a  Liszt,  Wagner  or  Rulnn- 
stein,  and  would,  orchestra-like,  fill  the  large  modern  concert  hall 
to  its  remotest  corners.  He  accomplished  this  object  without 
sacrificing  that  desired  nobility  of  singing  tone  quality. 

While  Theodore  Steinway  has  not  created  anything  positively 
new  in  piano  construction,  he  revolutionized  piano  making  and 
all   auxiliary  industries  by  forcing  the   acceptance   of   scientific 


306 


PTAXOS  AND  TIIEIK  MAKERS 


Hietliods  upon  nil  who  desired 
to  stny  ill  llic  i)rogressive 
iiiart'li.  lie  dciiioustrated  to 
wliat  extent  science  can  aid 
ill  the  d('velo])inent  oi'  the  pi- 
ano by  hi.s  own  productions, 
and  tlms  ])roke  the  ])ath  for 
the  enormous  development  of 
the  industry  during  the  past 
.']()  years.  This  is  more  than 
all  the  empirics  have  ever 
done.  Theodore  Steinway 
died  at  Brunswick,  March 
2f;,  1.8S9. 

Compensation  is  one  of 
the  inexorable  laws  of  na- 
ture. (Jreat  results  can  only 
be  achieved  by  great  efforts  and  corresponding  sacrifice. 
Steinway  cK:  Sons  had  to  i)ay  their  tribute  to  the  hiw  of  compen- 
sation ! 

Charles  Steinway,  hoi-n  (m  Jainiary  1,  1820,  was  one  of  those 
silent  workers  who  fill  most  important  places  in  the  world  of 
a<'ti\ily.  {)['  a  modest  and  retiring  disposition,  wrapi)ed  U[»  in 
liis  ai-dnous  duties  of  organizing  and  managing  the  ever-growing 
factories,  Charles  knew  no  bounds  for  his  labors.  lie  simply  ex- 
hausted himself  and  died  at  tlie  early  age  of  36  on  March  31,  1865, 
h'axiiig  behind  him  as  his  monument  the  piano  i'actory  jjar  excel- 
lence, a  fniiTidntiou  foi-  Theodore  and  AVilliam  to  buihl  u])07i,  with- 
out which  licit liei-  one  of  these  two  great  men  could  have  achieved 
their  triumphs. 


Charles  Steinwav 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


307 


Henry  Steinway,  Jr., 
born  on  March  27,  1831,  also 
paid  the  penalty  for  too  in- 
tense application  to  the  fur- 
therance of  ambitious  plans. 
Naturally  of  a  highly  artis- 
tic, nervous  temperament, 
Henry  devoted  himself  to 
the  nerve-racking  activity  of 
inventing  improvements,  and 
the  patent  records  speak 
loudly  for  his  great  achieve- 
ments. Seeking  food  for  Ids' 
restless  brain — enlighten- 
ment as  to  the  demands  of 
the  artist — Henry  was  at 
night-time  a  studious  citizen  •  ii<-"iy  stoinway 

of  Bohemia,  and  during  the  day  nervously  at  work  on  his  drawing- 
board.  Burning  the  candle  of  life  thus  brightly  at  both  ends,  it 
could  not  last  long,  and  the  talented  young  man  died  on  March  11, 
1865,  aged  only  3-1:  years. 

This  great  calamity  of  losing  the  two  brothers  within  three 
weeks'  time  threw  the  entire  burden  of  managing  the  great  busi- 
ness upon  young  William,  the  aged  father  having  gradually  with- 
drawn from  active  assistance,  William  Steinway  was  born  at 
Seesen  on  March  5,  1835,  at  a  time  when  the  Steinway  family"  was 
enjoying  prosperity  and  father  and  mother  were  in  their  prime. 
He  was  a  strong,  healthy  boy,  physically  and  mentally.  Like  his 
brother  Theodore  he  attended  the  Jacobsohn  College,  but  unlike 
Theodore  devoted  himself  to  the  study  of  languages  and  music 
proper,   rather   than   listening   to   dreary   lectures   on   acoustics. 


308 


PIANOS  AND  TIIKIK  MAKHliS 


At  the  as'e  of  14  lie  liad  a 
good  command  of  Knglisli 
and  Freiicli.  jilaycd  llic  piano 
acceptably  and  had  such 
a  iiiiisical  cai'  lliat  he  could 
lime  a  tliree-sti'Itii;(Ml  grand 
pi;iii()  1(»  perfection.  When 
the  faiiiily  ari'i\ed  in  New 
"^'ork.  AVilliani  was  offered 
the  choice  of  studying  music, 
for  which  he  had  shown  pro- 
nounced talent,  or  learning- 
piano  inaking.  lie  chose  the 
latter  and  was  at  once  a})- 
prenticed  to  William  Xnnns 
cV:  Company,  one  of  the  best- 
known  New  York  })iano  firms 
of  that  time.  As  soon  as  his 
father  started  in  business  AVilliam  joined  him.  and  worked  for  sev- 
eral years  at  the  bench,  until  the  connnercial  end  of  the  business 
demanded  closest  attention.  William  was  by  unanimous  agreement 
chosen  as  the  head  of  the  financial  and  commercial  departments  of 
the  firm.  It  was  his  })i'opei'  si)liere  and  furnished  another  illustra- 
tion of  the  keen  judgment  of  Henry  K.  Steinway,  Sr.  He  placed 
each  of  his  sons  where  his  ]iarticu'ar  talents  might  produce  tlie  best 
results. 

r>eing  only  L'!)  years  of  age  when  called  upon  to  manage  an 
establishment  of  enormous  p)'o])ortions,  \\'illiam  did  not  waver. 
With  the  grit  and  determination  inherited  from  his  father,  he 
begaii  to  ])lan  greater  extensions.  Theodore  was  building  j^ianos, 
William  had  to  sell  them.     His  pet  scheme,  a  great  concert  hall, 


MEN  AYHO  HAVE  MADE  PIAXO  HISTORY         309 

was  soon  carried  out — Steinway  Hall  was  opened  in  1867  by  Theo- 
dore Thomas'  orchestra,  with  S.  B.  Mills  as  soloist  at  the  piano. 
The  opening  of  this  hall  was  the  inauguration  of  a  new  era  in  the 
musical  life  of  America.  Anton  Rubinstein,  Annette  Essipoff, 
Teresa  Carreno,  Fannie  Bloomfield-Zeisler,  Rafael  Joseffy,  Eu- 
gene D 'Albert,  Leopold  Damrosch  and  Anton  Seidl  made  their 
bows  to  select  audiences  from  the  platform  of  Steinway  Hall. 
William  Steinway  knew  that  the  American  people  needed  musical 
education.  He  provided  it,  and  no  one  man  has  done  as  much  for 
musical  culture,  or  has  inspired  the  love  for  art  among  the  Ameri- 
can people,  as  AVilliam  Steinway. 

Supporting  Theodore  Thomas'  great  orchestra,  so  that  it 
might  make  its  celebrated  journeys  through  the  entire  country 
(and  without  the  aid  of  Steinway  this  would  have  been  impossible), 
William  by  most  liberal  otfers  induced  leading  European  virtuosos 
to  come  on  concert  tours  to  America.  He  was  the  ever-helping 
friend  to  young  students  and  teachers.  His  inborn  liberality  would 
often  let  the  heart  be  master  of  better  judgment,  but  he  never 
I'egretted  his  acts  of  benevolence,  even  if  sometimes  repaid  with 
base  ingratitude. 

To  the  astonishment  and  chagrin  of  the  older  and  more  con- 
servative houses  in  the  piano  trade,  William  started  an  aggressive 
and  heretofore  unheard-of  advertising  campaign.  As  a  competent 
judge  he  knew  that  his  factories  turned  out  the  best  pianos  that 
could  possibly  be  made,  and  he  was  bent  not  only  on  letting  the 
world  know  it,  but  on  making  the  world  believe  it,  as  he  did.  This 
was  revolutionary,  even  shocking,  but  William  persisted  until  he 
carried  his  point. 

Having  established  the  fame  of  his  piano  in  America  beyond 
dispute,  William  looked  for  other  worlds  to  conquer,  and  opened 
a  branch  house  in  the  city  of  London  about  the  year  1875.  Stein- 
way Hall  in  London  was  formally  opened  in  1876.     In  1880  the 


310  riAxns  AXD  'riii:ii:  makkus 

ITainliiiru'  ractorics  wore  started,  to  .siii)ii]s-  the  ever-growing  Euro- 
pean trade. 

While  thus  cngagi'd  In  hnildiiiu'  up  this  great  maiivot  for  the 
])ioduets  t)!'  the  i'aetorie.^,  William  i'ustered  ambitions  in  other 
directions.  Me  wantecl  to  see  the  name  of  Steiiiway  on  tlie  map 
<»r  Xew  ^'ork;  and  with  that  vwd  in  \ie\v  he  houglit  400  aci'es  of 
laud  oil  the  Long  Island  Sound  in  tsso,  and  there  created  the  town 
of  Steinwa>.  Starting  with  the  erection  of  a  sawmill  and  iron 
fouinli>-.  in  course  of  time  the  ease  and  action  factoi-ies  were 
<'fecte(|,  and  since  1*)10  the  entire  ]uano  works  of  Steinway  6c  Sons 
hax'e  lieeii  located  at  Steinway,  L.  I.,  Xew  York. 

William  Steinway  was  a  strong  man  in  every  sense  of  the  word. 
As  a  young  man  he  was  counted  among  the  invincible  athletes  of 
the  (ItTinan  Turn  \'erein,  and  even  in  his  later  years  it  was  one 
of  his  pleasantries  to  com])are  nniscular  strength  wdtli  friends. 
To  say  that  mentally  he  was  a  giant  is  no  exaggeration.  Wlio- 
e\-er  can  contem])Iate  the  nuiltitude  of  details,  aside  from  the 
larger  schemes,  to  which  William  Stein\vay  ])aid  closest  attention, 
the  C()m])lex  financial  problems  which  confrojited  him  in  times  of 
business  depression,  the  demands  made  U})on  his  time  by  artists, 
members  of  the  press,  etc.,  must  wonder  how  he  could  pay  any 
attention  to  society  or  ])ublic  affairs.  Yet  we  find  that  lie  was 
often  called  upon  to  lead  a  movement  in  politics  or  municipal 
affairs,  to  which  he  would  res])ond  with  unw^onted  energy  and 
ability,  j-'oi-  14  years  he  acted  as  president  of  the  Liederkranz, 
the  leading  (lerman  singing  society  of  New  York.  He  was  director 
in  several  banks  and  an  active  member  of  leading  clubs.  Broad- 
minded  and  liberal  to  a  degree,  William  Steinway  could  always 
look  far  beyond  Steinway  Hall  when  danger  threatened  the 
])iano  industry  or  a  helping  hand  could  be  extended  for  uplifting. 
It  is  unl'oitunate  that  history  never  will  record  his  manly  and 
heroic   actions    in    the    interest   of   the   entire   piano   inchistry   of 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


311 


America  during'  the  dark 
days  of  the  great  panics  of 
1893  and  1896.  He  stood 
like  the  Rock  of  Gibraltar 
against  the  waves  of  de- 
struction rampant  in  those 
days,  and  l)y  his  great  in- 
fluence in  financial  circles, 
his  sound  judgment  and 
counsel,  protected  the  credit 
and  fair  name  of  the  indus- 
try-, often  by  timely  action 
preventing  impending  disas- 
ter to  worthy  firms.  He  ap- 
l^lied  himself  with  such  in- 
tensity and  abandon  to  his 
duties    that    even    his    won-  Albert  steiiiway 

derfully  robust  constitution  had  to  give  way  under  the  protracted 
strain  and  exertion.  He  died  prematurely  on  November  30,  1896, 
a  martyr  of  conscientious  devotion  to  duty  as  he  saw  it.  Carl 
Schurz  delivered  the  funeral  oration  and  New  York  was  in 
mourning. 

The  youngest  son  of  Henry  Engelhardt,  Albert  Steinwa}^,  born 
on  June  10,  1840,  like  his  brothers  had  chosen  piano  making  as  his 
life  work,  and  after  the  death  of  Charles  assumed  the  manage- 
ment of  the  factories.  He  made  the  application  of  machinery  for 
manufacturing,  modern  heating  and  lighting  systems  his  special 
study  and  thus  kept  the  Steinway  factories  in  the  front  rank  of 
progressive  industrial  establishments.  The  development  of  the 
village  of  Steinway  was  mainly  his  work,  and  the  planning  and 
erection  of  the  sawmills,  iron  foundry,  metal  shops  and  case  fac- 
tory were  entirely  in  his  hands.    With  that  restless  zeal   so  char- 


312  n.WoS   AM)  TUVMl  ^lAKERS 

acteristie  of  tlic  Stcinway  t';mii1y,  iiruiiiu-  liiin  to  nrpomplisli  in  a 
^iveii  time  iiKMf  llinn  his  liddily  streiig'tli  would  iici-iiiit,  lie  iincler- 
iiiinc(l  his  iiuiic  loo  sli-oui;-  coiistiliil  i(»ii  ;iii(l  (TkmI  at  the  age  of  37 
CM  May   14,  1^77. 

Il  is  almost  needless  to  say  that  in  coui'se  of  time  honors  were 
showered  upon  the  house  of  Steiiiwax',  in  recognition  of  its  many 
xaluahle  eontril)iitioii>  to  science,  art  and  industry.  Theodore  and 
William  wei-e  elected  ^Members  of  the  Societies  of  Art  of  Berlin, 
i'aris  and  Stockholm,  and  William  was  decorated  with  the  ( 'ross 
of  the  ]-?ed  Eagle  by  KmjxM'of  William  of  (rermany.  The  highest 
jtrizes  for  meritorious  })ro(lucts  lia\-e  in\ai-ial)ly  been  awarded  to 
the  lirm  wherever  theii-  pianos  have  been  exhibited,  and  the  leading- 
courts  of  lMiro]ie  and  Asia  bestowed  the  honor  of  appointment  as 
"■  special  ])ur\"eyors  "  to  Steinway  lV:  Sons. 

Charles  7T.  Steinway,  the  ]iresident  of  the  cor]~)oration,  has 
been  honoi-e(l  by  t  li<'  Sultan  of  Tui-key  with  the  ( )rder  of  the  Liakat; 
by  the  l\epul)lic  of  France  with  the  Cross  of  the  Legion  of  Honor; 
by  the  Shah  of  Persia  with  the  Order  of  the  Lion  and  Snn,  and  by 
the  I'hniieror  of  Uermany  with  tlie  Order  of  the  lied  Eagle. 

All  of  the  founders  of  tlie  great  house  having  passed  to  the 
unknown  l)eyond,  their  work  is  continued  in  most  effectual  man- 
nei-  by  their  scions,  who,  true  to  tradition,  divide  the  mani- 
fold duties  among  themselves,  according  to  their  talents  and 
training. 

('harles  TT.  Steinway,  son  of  the  late  Tharles,  directs  the  com- 
mei<'i;il  ;ind  linancial  policy  of  the  corporation.  His  l)rother, 
Frederick  T.,  is  in  charge  of  the  factories,  assisted  by  Theodore 
Cassebeer,  grandsoll  of  Doretta  Steinway-Ziegler. 

TTenry  55iegler,  son  of  Doi-etta,  and  luijiil  of  the  late  Theodore 
Steinway,  is  in  ehai'ge  of  the  construction  de])artment,  assisted  by 
the  late  William  Steinway's  son,  Theodore  F.,  whose  elder  brother, 
AVilliam  ii.,  is  in  charge  of  the  European  business. 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


313 


Following  their  chosen 
leader  cheerfully,  just  as 
Henry  Engelhardt's  sons  ac- 
knowledged their  father's 
authority  under  all  condi- 
tions, the  active  members  of 
the  House  of  Steinway  not 
only  uphold  the  foremost 
position  to  which  the  found- 
ers had  attained,  but  are 
adding  new  laurels  to  the 
illustrious  name  by  con- 
stantly improving  the  qual- 
ity of  their  instruments  and 
extending  their  influence,  as 
leaders  of  the  industry,  to 
all  parts  of  the  civilized 
w^orld. 

Theodore  A.  Heintzmann  is  perhaps  entitled  to  the  name  of 
father  of  the  piano  industry  in  Canada.  Born  at  Berlin,  Germany, 
on  May  19,  1817,  he  started  as  a  cabinetmaker,  learned  keymaking 
with  Buchholtz  and  perfected  himself  as  a  piano  maker  under 
Grunow.  After  traveling  extensively  on  the  Continent  of  Europe, 
he  landed  in  New  York  in  1850,  where  he  found  work  in  Liglite  & 
Newton's  factory.  Charles  Steinway  had  his  work-bench  in  the 
same  room  with  Heintzmann.  In  1853  he  went  to  Buffalo  and 
started  the  Western  Piano  Company,  which  enterprise  had  to  be 
abandoned  during  the  panic  of  1857.  Moving  to  Toronto  in  1860 
he  started  a  piano  shop  without  any  capital,  but  his  instruments 
were  of  such  a  high  order  that  he  found  purchasers  for  them  quite 
easily.  The  business  grew  steadily  under  his  energetic  manage- 
ment and  ranks  to-day  among  the  leading  industrial  establishments 


Theodore  A.  Heintzmann 


314 


IM.WOS  AXI)  TllHIli'  ^[AKEKS 


of  tli<'  Dniiiliiioii.  TTciiitz- 
iiiaiiii  (lied  oil  .Inly  25, 
ISD!).  'I'lic  ))ii.sinoss  lias 
been  taken  oxer  by  a  eor- 
]inration,  in  t1ie  nmnage- 
ment  ol"  wliicli  roiii'  sons 
of  tlie  late  Ueintzmann 
take  aetive  pai't. 

Anionii,'  llu'  iiiaiiv  Ger- 
mans  wlio  left  tlicii'  fa- 
tlierlaiid  after  tlie  failure 
of  tlie  devolution  of  18+8, 
was  Ernest  Gabler.  JJurn 
in  Glogan,  Silesia,  lie 
landed  at  Xew  Yoik  in 
1851,  and  started  in  busi- 
ness in  1854.  Building  a 
substantial  ]»iano  at  a 
moderate  price,  lie  met 
Tvith  considerable  finaneial  success.  He  died  February  27, 
1883. 

A  pecn'iar  eliaraeter.  witli  many  strong  traits,  we  find  in  Free- 
born Gai-rettson  Siiiilii.  I.cai-ning  his  trade  in  l>a!tiniore,  he  worked 
for  some  time  in  ( 'bickering's  factory.  Tn  18(51  be  became  super- 
intendent foi-  William  !*>.  Ui'adbui-y.  IJradlniry  was  a  musician  by 
l)rofession,  who  had  bought  an  interest  in  the  firm  of  Liglite  & 
Newton  (established  in  1848),  and  when  he  dissolved  ])artnership 
with  i/ightc,  he  found  in  Smith  a  good  manager  for  his  factory. 
After  Bradbury's  death  in  18r;7  Smith  bought  the  business,  con- 
tinuing the  name  of  Bradbniy.  Immediately  the  commercial  in- 
stincts of  Smith  came  to  the  surface,  and  he  developed  greater 


iM'iii'st  (Jal)lcr 


MEN  WHO  HAVE  MADE  PIAXO  HISTOEY 


315 


F.  G.  Smith 


talents  as  a  distributor  of 
pianos  than  as  a  maker. 
Original  in  his  methods,  he 
published  for  a  long  time  a 
testimonial  of  the  well- 
known  preacher,  T.  DeWitt 
Talmage,  in  which  the  latter 
declared  that  if  the  angels 
are  using  musical  instru- 
ments in  heaven,  the  Brad- 
bury piano  would  surely  be 
there,  because  of  its  sweet 
tone. 

Smith  was  among  the 
first  who  opened  warerooms 
in  leading  cities,  selling  his 

product  direct  to  the  public  rather  than  through  dealers.  He  is 
counted  among  the  wealthiest  of  those  men  in  the  piano  trade  who 
have  accumulated  their  fortunes  by  thrift,  energy  and  exceptional 
business  abilitv. 

While  working  at  the  melodeon  factory  of  George  A.  Prince 
&  Company  of  Buifalo,  Emmons  Hamlin  made  the  important  dis- 
covery of  "  voicing  "  organ  reeds,  so  that  a  given  reed  could  be 
made  to  imitate  a  clarinet,  violin  or  other  instrument.  He  devel- 
oped this  discovery  to  perfection  and  in  1854  formed  a  partner- 
ship with  Henry  Mason  under  the  firm  name  of  Mason  &  Hamlin, 
for  the  purpose  of  manufacturing  a  new  musical  instrument  called 
*'  organ  harmonium."  Hamlin  was  a  painstaking,  exact  working 
mechanic,  with  considerable  genius  as  an  inventor. 

Henry  Mason,  reared  under  the  best  musical  traditions  of 
Boston,  and  graduated  from  a  German  university,  was  imbued  with 


316 


PTAXnS  AXI)  TlIKllJ  ^FAKEES 


that  artistic  devotion  to 
iiiusic,  which  we  find  to  this 
(hite  exjivessed  in  the  ahnost 
Ihiwlos  instnuiR'iits  i)ro- 
diiced  hy  tlie  Masou  &  Ham- 
lin Company. 

Starting"    with     a     small 
capital,    but    determined    to 
})roduc('  the  very  best  instru- 
ments only,  tlie  firm  met  with 
almost  instant  success.    Not 
content    with    the   manufac- 
ture of  their  humble  instru- 
ment,  they   soon   developed 
what   has  become  known  as 
the  American  Cabinet  Organ. 
This  instrument  won  for  the 
firm    a    world-wide    re])uta- 
tion    and    the    highest    possible    lionors    and    awards    were    be- 
stowed upon  their  products  at  all  World's  Expositions,  wherever 
exhiljited. 

In  1881  the  nuinufacture  of  i>ianos  was  added  to  their  indus- 
tries. The  ^lason  &  Hamlin  ])ian()  advanced  rapidly  in  popular 
favor  and  is  acce]ite(l  li\  tin'  most  eminent  virtuosos  and  musicians 
of  the  day.  as  an  ai'tistic  instrnmciit  of  the  highest  order. 

Among  the  pioneers  of  the  melodeon  and  organ  industry  was 
Bernhai'd  Shoninger,  a  native  of  Germany,  who  landed  in  America 
in  ls47,  and  started  his  factory  at  New  Haven,  Conn.,  in  1S50. 
Branching  out  to  the  making  of  ])ianos,  he  secured  for  his  instru- 
ments the  same  enviable  reputati<in  which  had  been  accorded  to 
his   organs.     Bernhard   Shoninger   died   on   June   3,   1910.     The 


IJcnili.inl  Slujiiiiiiier 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


317 


business  is  continued  under  } 

the  able  direction  of  his  son, 
S.  B.  Shoninger. 

Myron  A.  Decker,  born 
at  Manchester,  N.  Y.,  on 
January  2,  1823,  served 
a  four-year  apprenticeship 
with  Viui  AVinkle  at  the  time 
when  Albert  Weber  was  tak- 
ing his  post-graduate  course 
in  the  same  shop.  He  then 
went  to  work  for  Boardman 
&  Gray  at  Albany,  and 
started  a  factory  in  that  city 
in  1856,  At  the  State  Fair 
held  at  Syracuse  in  1858 
Decker  received  a  diploma 
for  the  best  piano  exhibited. 

In  1859  he  removed  to  New  York,  occupying  for  many  years  the  his- 
toric building  on  Third  Avenue  and  Fourteenth  Street,  in  which 
Osborn,  and  later  Worcester,  had  made  pianos  many  years  before. 
In  1877  his  son,  Frank  C,  Decker,  was  admitted  to  partnership  and 
the  firm  changed  to  Decker  &  Son. 

Myron  A,  Decker  died  in  1901.  He  was  one  of  the  old  .school 
of  master  mechanics,  more  concerned  in  designing  and  building  a 
thoroughly  artistic  piano  than  in  accumulating  wealth.  The  firm 
was  changed  to  a  corporation  in  1909,  with  Frank  0,  Decker  as 
president  and  manager.  Frank  C,  Decker,  Jr,,  grandson  of  the 
founder,  is  preparing  himself,  under  the  tutelage  of  his  father,  to 
perpetuate  the  well-earned  fame  of  the  name  of  Decker  in  the  piano 
world. 


Myron  A.  Decker 


318 


ri.\X<»^   AXn  TTIETK  AIAKEKS 


AiiKiiiu'  the   I'cw   who  de- 
voted tliclr  li\('s  to  the  one 
object,   the   iiiipiovemoiit   of 
the  piano,  especially   its  to- 
nal ([ualities,  (u'orge  Steek's 
name  will  cvoi-  be  iiiontionod 
as    one    of   the   first.     Born 
near    Cassel,    Germany,    on 
duly  19,  1829,  Steck  studied 
with  tliat  celebrated  master, 
Carl       Scheel      of      Cassel. 
Coming-  to  America  in  1853, 
he    started    his    factory    in 
1857  and  met  with  such  ex- 
ceptional    success     that     he 
was  able  to  oi)en  Steck  Hall 
on  Clinton  Place,  New  York 
City,  in  1805,  where  his  con- 
cert grand  ])ianos  were  ]ilayed  by  the  leading  artists  of  the  day. 
Later  on  a  larger  hall  was  opened  on  Fourteenth  Sti-eet  to  meet  the 
(|('inaii(l>  of  a  steadily  growing  business. 

Sleek  was  one  of  those  restless  natures  who  are  never  satisfied 
with  the  best  of  their  work.  As  a  scale  drawer  he  had  no  superior. 
His  scales  for  both  grand  and  u])rigbt  ]^ianos  have  been  indus- 
triously copied  by  makers  of  commercial  pianos,  l)ecause  of  their 
exceptional  merit  foi-  clear  and  large  tone.  His  concert  grands 
lia\-e  Ix'cn  highly  endoiv-ed  by  Richard  Wagner,  Sopliie  Menter, 
Annette  Hssijxjlf,  Sir  .Julius  Benedict  and  many  others. 
I'eeause  of  tlie  o\ee])tional  solidity  of  the  St(H'k  ]iiano,  it 
has  been  chosen  for  years  by  many  schools  and  colleges 
all  tlirongh  the  United  States,  and  has  become  known  as  the 
''  school  })iano." 


George  Steck 


MEN  WHO  HAVE  MADE  PIANO  HISTOEY 


319 


Personally,  George  Steck 
was  a  most  lovable  charac- 
ter, who  had  no  enemies, 
finding  pleasure  in  the  pur- 
suit of  his  art,  wltli  no  par- 
ticular regard  for  the  com- 
mercial end  of  the  business. 
To  assure  for  his  co-workers 
proper  compensation  for 
faithful  service,  Steck  in- 
corporated his  business  in 
1884,  allotting  shares  of 
stock  to  his  employees. 
Gradually  shifting  the  re- 
sponsibilities and  cares  upon 
younger  shoulders,  he  retired 
from  active  participation  in 
1887.     The  last  10  years  of 

his  life  were  devoted  entirely  to  his  pet  scheme  of  constructing  a 
piano  which  would  stand  permanently  in  tune.  His  experiments  in 
that  direction  were  very  interesting,  but  he  could  not  see  the  fulfill- 
ment of  his  dream.  He  died  on  March  31,  1897.  In  1904  the  busi- 
ness was  consolidated  with  the  Aeolian  Company  of  New  York, 
under  whose  direction  the  manufacture  of  the  Steck  pianos  is  con- 
tinued with  great  energy  and  ability.  The  business  having  out- 
grown the  home  facilities,  large  additional  factories  have  been 
established  at  Gotha,  Germany,  to  supply  the  foreign  demand  for 
these  pianos. 

One  of  the  prominent  piano  manufacturers  of  the  early  days 
was  Henry  Behning.  Born  at  Hanover,  Germany,  on  November  3, 
1832,  he  learned  piano  making  with  Julius  Gercke  and  came  to 


Heiirv  Behning 


320 


riAXos  AXi)  'nii:ii:  ^iakers 


1 1  iil;(i  Siihiiicr 


AiiR'i'ica  ill  185G.  He  i'ouiul 
ciiiitloyiiKMit  ill  tlie  slio])  of 
Liglite  t^  Xewloii.  At  the 
oiilbrenk  of  the  Civil  War  lie 
enlisted  with  the  Union 
Army.  Inkiiii;'  part  in  the  hos- 
tilities, bnt  was  soon  iioiior- 
al)ly  (lisehar.^cd  for  disabil- 
ity. In  iSdl  he  started  in 
business,  niakini>'  a  good 
coniniereial  piano.  In  1880 
lie  admitted  liis  son  Henry  to 
partnersbi]i,  under  the  firm 
name  of  Henry  JJehning  & 
Son.  He  retired  from  busi- 
ness in  1894  and  died  on 
June  10,  1905.    The  firm  was 


changed  in  1894  to  the  Behning  Piano  Company,  a  corporation 
under  the  management  of  Heni'v  Behning,  Jr.,  and  Gustav 
Belming. 

Hugo  S(. Inner,  horn  in  the  Black  Forest,  Germany,  in  1840, 
liad  the  bciielit  of  a  classical  education,  including  a  thorough  study 
of  limbic,  lie  came  to  New  York  at  the  age  of  sixteen  and  served 
his  a])])renticeship  with  Sehiitze  cV:  Ludolff,  Jieturning  to  Ger- 
many he  s1ndie(l  jhano  making  for  two  years  in  some  of  the  leading 
l'acl<iric>  there.  In  IS'O  he  founded  the  firm  of  Sohmer  cV'  Coni- 
]ian\-.  by  taking  over  the  business  of  Marshall  &  Mittauer.  Sohmer 
is  a  thoiough  piano  makei'  who  has  [»atented  many  improvements, 
cnhancinu-  the  \'abie  of  his  ])rodnet.  With  strongly  de\'eh)i)ed 
artistic  inclination.  Sohniei'  has  ever  been  satisfied  to  ])roduce  an 
artistic  instrninent,  i-athei'  than  to  merely  manufacture  large  quan- 
tities. 


MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


321 


Among  the  firms  that 
have  succeeded  iu  iDroducing 
a  high-grade  piano  and  scor- 
ing at  the  same  time  a  re- 
markable financial  success, 
Jacob  Brothers  stand  pre- 
eminent. Charles  Jacob  stud- 
ied piano  making  with  Calen- 
berg  &  Vaupel,  who  stood 
high  among  the  masters  of 
their  day,  while  his  brother, 
John  F.  Jacob,  worked  for 
years  with  Hardman,  Peck 
&  Company,  and  Billings  & 
Wlieelock.  They  started  in 
business  in  1878.  After  the 
death   of   John   F.   in   1885,  •  ciuuies  Jawb 

the  youngest  brother,  C.  Albert,  was  admitted  to  the  firm,  and 
in  1902  the  business  was  incorporated.  Besides  their  own  ex- 
tensive factory,  this  corporation  owns  the  Wellington  Piano  Case 
Company,  the  Abbott  Piano  Action  Company  and  has  also  taken 
over  the  Matlmshek  &  Son  Piano  Comi)any,  and  the  old  established 
business  of  James  &  Holmstrom,  all  of  which  are  continued  with 
marked  success  under  the  presidency  of  Charles  Jacob,  assisted 
by  his  brother  Albert. 

One  of  the  most  interesting  characters  in  the  historv  of  the 
piano  industry  was  Frederick  Mathushek,  born  at  Mannheim  on 
June  9,  1814.  He  learned  piano  making  at  Worms.  After  serving 
his  apprenticeship,  he  traveled  through  Germany  and  Austria,  and 
finally  landed  in  Henri  Pape's  shop  at  Paris,  where  he  became  thor- 
oughly   infected    with    that    inventor's    bacteria.      Eeturning    to 


322 


riAXos  AXi)  THi-:n?  makebs 


Worms,  lie  began  to  build 
I  reak  pianos  similar  to  those 
111'  had  .seen  at  i*ai)e's.  One 
oL'  his  octagon  "  tal)le  ])i- 
anos, "  built  at  Worms,  is 
among-  the  collection  of  an- 
ti(iue  pianos  at  the  Ibacli 
Museum  at  Jjarmcii.  Al- 
though a  splendid  workman 
and  ])articularly  gifted  tone 
specialist,  which  enal)led  him 
to  build  su[)erior  artistic  pi- 
anos, liis  business  was  not  a 
success  financially. 

In  1849  :\ratliushek  landed 
in  Xew  York,  and  was  imme- 
diately engaged  by  John  B. 
Dunham  to  draw  new  scales 
and  make  other  improvements.  It  is  said  that  ]\raihushek  drew  a 
scale  fur  o\erslrung  scjuai-e  ])ianos  in  Dunham's  shop  in  1850.  It 
has  never  been  dis])uted  that  the  rejmtation  which  the  Dunham 
l)ianos  enjoyed  in  their  day  was  due  to  the  work  of  Mathushek.  It 
was  here,  also,  that  he  constructed  his  inano  hammer-covering 
machine,  which  has  been  used  as  a  foundation  for  all  later  iniprove- 
meiils  ill  that  line. 

In  1852  ^fathushek  started  again  on  his  own  account,  continuing 
until  ls57,  when  Spencer  15.  Driggs  tempted  him  with  most  lil)- 
eral  oilers  to  woi-k  out  the  vague,  not  to  say  wild,  notions  which 
Driggs  had  conceived  of  revolutionizing  the  construction  of  the 
piano.  It  was  impossible  for  even  so  great  and  versatile  a  genius 
as  Mathushek  tu  achieve  any  practical  results  by  following  JJriggs* 


MEN  WHO  PIAVE  MADE  PIANO  HISTORY  323 

ideas,  and  we  find  liim  in  1866  as  head  of  the  Mathushek  Piano 
Company,  at  New  Haven,  Conn.  It  was  here  that  he  did  his  best 
work.  His  invention  of  the  linear  bridge  and  equalizing  scale 
enabled  him  to  produce  in  his  small  "  Colibri  "  piauo  a  tone  richer 
and  fuller  than  could  be  found  in  many  a  large  square  piano,  while 


Mathusliek's  "  Table  Piauo,"  from  the  Ibach  CoUeotioa 


q24 


PIAXOS  AXn  TTTETR  :NrAKEES 


liis   oi'fliostral   s^qnnre  piano 

lias  iicxcr  hccii  excelled,  if  it 

e\'ei-  had  its  peer.     In  xdliiiue 

and  iiiusical   (pialily  ol"  tone 

tliese    orcliostral    s(|Tiavo    ]ii- 

aiios    were    far    siipei-ioi'    to 

iiiaii\-    of    the    slioii     ,urand 

pianos  of  the  ]>resent   time, 

jMi^^^^tF  ^  |i()ssessing,  especially  in  tlie 

W  W^^^  J^  middle    i-e,i>'ister,    an    almost 

^^^^    .^H^P  hewiteliing-  sweet  mellowness 

^^^^^»-  of  tone,  reminding  vividly  of 

the  cello  tones.  TTnfortu- 
nately  for  ]\Iathnsliek,  the 
owners  of  the  company  soon 
commercialized  the  product, 
and  his  dream  of  some  day 
])uilding  a  concert  grand  pi- 
ano such  as  he  liad  in  his  mind  was  never  realized. 

lie  drew  many  grand  piano  scales  for  other  manufacturers, 
hut,  strange  as  it  may  sound,  Alathushek's  scales  were  only  a  suc- 
cess Avhen  he  could  woi-k  out  the  entire  ])iano  as  he  conceived  it 
in  his  own  mind.  It  is  no  exaggeration  to  state  that  Matlmshek 
could,  as  a  voicer,  produce  a  tone  ([uality  in  his  own  ])ianos  that 
no  other  man  could  imitate.  The  author  had  the  })rivilege  of 
woi-king  alongside  Matliushek  for  a  munher  of  yeai-s  at  the  New 
lla\(Mi  fadory  and  ohserx'ed  the  radical  1 1'ansformalion  of  tone 
(piality  after  ]\Iathushek  had  gone  over  the  hammers  with  his 
tools.  A  good  1  (layer  of  the  ])iano,  with  a  wonderfully  sensitive 
ani1  traiiie(]  r\\\\  he  <|iricl<ly  detected  an  almost  imperceptible  short- 
coming and  usually  knew  how  to  correct  it.     llis  fault,  if  it  is  to 


Frederick  ^hithiisliek 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  325 

be  called  so,  was  liis  irresistible  restlessness  in  seeking  for  im- 
provements, whit'li  often  robbed  him  of  his  night's  rest  and 
prompted  continual  changes  while  a  large  number  of  pianos  were 
in  course  of  construction.  Modern  manufacturing  methods  do  not 
permit  of  too  much  experimenting,  and  like  his  master,  Pape, 
Matlmshek  died  a  poor  man.  In  1871  he  left  New  Haven,  and  with 
his  grandson  started  the  firm  of  Mathushek  &  Son  in  New  York. 
It  was  finally  changed  to  a  corporation  and  consolidated  with 
Jacob  Brothers,  under  whose  able  management  the  business  has 
flourished. 

It  is  impossible  to  discuss  or  even  to  enumerate  the  manifold 
inventions  of  Frederick  Mathushek.  He  was  even  more  prolific 
than  Henri  Pape,  but  differed  from  Pape  in  not  being  given  to 
merely  experiment  with  ideas  for  the  sake  of  novelty. 

Mathushek 's  whole  existence  was  dominated  by  the  desire  to 
produce  in  a  piano  that  ideal  musical  tone  which  he  could  hear 
mentally,  just  as  the  deaf  Beethoven  heard  his  symphonic  poems 
when  he  wrote  them.  Mathushek  never  had  an  opportunity  to 
develop  what  he  had  in  mind  and  felt  in  his  soul.  He  came  near 
to  it  in  his  orchestral  square  piano,  and  almost  accomplished  his 
aim  in  his  ecpiilibre  system.  The  piano  industry  of  America  is 
largely  indebted  for  its  wonderful  development  to  the  genius  of 
Frederick  Mathushek.    He  died  November  9,  1891. 

AVith  hope  and  high  ambition,  William  E.  Wheelock  entered  the 
trade  in  1873,  at  the  age  of  twenty-one  years,  as  a  member  of  the 
firm  of  Billings  &  AVheelock.  In  1877  the  i)artnership  was  dis- 
solved, and  he  began  the  manufacture  of  the  Wheelock  piano. 
In  1880  the  firm  name  became  William  E.  Wheelock  &  Co.  The 
demand  for  the  Wheelock  piano  had  increased  so  rapidly  that 
better  facilities  became  necessary,  and  a  large  factory  with  grounds 
comprising  21  city  lots  on  149tli  Street,  New  York,  was  acciuired.  In 
1886  the  Stuyvesant  Piano  Company  was  started  to  meet  the  de- 


326 


IMAXOS  AND  TIIKIR   MAKKRS 


iiiaiid  for  a  modium-priced 
jMaiio.  ami  in  ISDi'  control 
of  the  Inisiiiess  of  the 
hite  Albert  Wohor  was 
obtained.  Wheelock  and 
liis  partners,  ("liai'les  B. 
Lawsoii  and  Joliii  W.  ^la- 
son,  ori;anJzed  the  Weber 
l^iano  (*oni]iany  and  tlms 
l)ecame  the  tirst  nianufac- 
tnrers  who  could  offer  to 
the  trade  a  full  line  of  the 
most  merchantable  i»rades: 
the  Weber,  a  piano  of 
llie  liii>hest  reputation  and 
(inalities;  the  Wheelock,  as 
a  first-class  instrument,  and 
the  medium  priced  Stuy- 
vesant — all  made  in  sepa- 
lale  factories,  bul  prac- 
tically under  one  contiol 
and  managenu'iit.  This  idea,  later  on,  was  successfully  followed 
by  many  of  llic  Icadino-  concerns  in  the  Ignited  States.  When  the 
opiK)rtunity  to  consolidate  his  three  comi)anies  with  the  Aeolian 
interests  presented  itseil"  in  1903,  Wheelock  saw  the  greater  possi- 
bilil\'  I'oi-  ihc  t'liliirc  of  his  enterprise  in  such  a  combination  and 
entered  into  the  aiTaiii^cmciil  whereljy  he  became  treasurer  of  the 
now  and  largei-  c(»i-p(ti  alioii  tlien  foi'iiuMl,  while  remainin,i>'  ])resi- 
de?il  of  the  x'X'cral  piano  companies  of  which   t'oi'  manv  vears  he 

II  *'       *' 

]iad  ])een  the  head. 

Educated  as  a   musician,  liecomini--  a   \iolinist   and   orchestra 
conductor  of  note,  Simon  I\i-akaiicr,  l)oi'n  at  Kissingen,  Gei'uuiny, 


hjui<^u^<^  (^^d^Jl^^^^A. 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


327 


in  1816,  came  to  America  in 
1854  and  started  manufac- 
turing i)ianos  in  18G9,  witii 
liis  son  David,  who  had 
learned  the  trade  in  A.  H. 
Gale's  shop  and  later  on 
worked  for  Haines  Brothers 
and  other  New  York  makers. 

It  was  but  natural  that 
the  thorough  musician,  Kra- 
kauer,  should  strive  to  build 
an  artistic  piano,  making 
quality  the  dominant  effort, 
seeking  to  obtain  musical 
tone  quality.  In  1867  Julius 
and  Daniel  Krakauer  joined, 
and  the  firm  was  changed 
to   Krakauer    Brothers.     In 

1903  the  concern  was  incorporated.     David  Krakauer  died  in  1900, 
and  his  father  in  1905. 

William  B.  Tremaine,  born  in  1840,  entered  the  piano  business 
in  1868  as  a  member  of  the  firm  of  Tremaine  Brothers.  A  man  of 
restless  disposition,  cultured  and  versatile,  he  seized  upon  oppor- 
tunities whenever  presented.  When  Mason  J.  Mathews  had  his 
orguinette  ready  for  the  market,  Tremaine  organized  in  1878  the 
"  Mechanical  Orguinette  Company,"  and  marketed  these  auto- 
matic instruments  by  the  thousands.  Later  on  the  "  Celestina  " 
(an  enlarged  orguinette)  was  introduced  with  considerable  suc- 
cess, and  in  1883  the  Aeolian  organ  was  brought  out.  Acquiring 
in  1888  the  patents  and  stock  in  trade  of  the  Automatic  Music 
Paper  Company  of  Boston,  Tremaine  organized  the  Aeolian  Organ 
&  Music  Company,  manufacturing  automatic  organs  and  music 


Simon  Krakauer 


328 


PTAXOS  AXD  TTTKTl?  ^lAKKRS 


Tolls. 


Sncooss     crown  ino: 


his  clVorts,  he  i)iircliased 
ill  Isdl'  ;ill  the  patents 
owned  hy  the  Moni'oe 
Oi'nan  liccd  ( "onijiaiiy  of 
\\'oreester,  and  in  1S1)5 
introduced  the  "  Aeriol  " 
seli'-phiying-  ])ian(). 

W.    B.    Treniaine    was 
the   founder   of  the   busi- 
ness     of     manufaeturing 
automatic  phiying  musical 
instruments.      Before   the 
advent  of  the  "  Pianohi  " 
there  was  neither  competi- 
tion    nor     encouragement 
from  tlie  i)iano  trade,  and 
it  re(|uired  a  man  of  keen 
foresight  and  coui'age  to  meet  these  conditions  and  make  a  suc- 
cess of  the  business,  as  lie  did.  up  1o  tlie  time  of  his  relin(iuishing 
it  to  liis  son. 

Many  writers  i)()int  to  tlie  fact  that  a  large  number  of  our 
ca]>tains  of  imbistry  have  l)een  born  on  a  farm,  have  lacked  higher 
education  and  had  1o  "  make  themselves,"  inferring,  if  not  ])Osi- 
tively  asserting,  that  greatness  in  man  can  only  originate  on  the 
soil  or  ill  the  dwelling  of  the  i»ooi-.  In  ISOf!  a  boy  was  born  in 
the  city  of  iirooklyn  who  was  christened  Harry  15.  Treniaine. 
The  father  and  mother,  highly  educated  ]»eo]>le  of  culture  and 
refinement,  brought  up  their  boy  with  all  the  advantages  which  a 
large  city  offers.  Unlike  the  country  lad,  young  Treniaine  saw 
the  sky-scra])ing  office  buildings  of  Xew  York  go  up,  saw  the 
traffic  on  its  thoroughfares,  the  shi[)s  in  the  harbor,  loading  and 


\\  illiain  B.  Treniaine 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


329 


unloading  merchandise  to 
and  from  all  quarters  of  the 
globe.  He  was  not  awe- 
struck. It  looked  natural  to 
him.  He  saw  it  every  day 
when  he  went  to  school,  but 
he  observed  and  absorbed. 
Contrary  to  the  old  prescrip- 
tion according  to  which  the 
great  men  of  the  future  had 
to  leave  the  schoolroom  at 
the  age  of  13  or  14  to  learn 
a  trade,  young  Tremaine 
wanted  to  go  to  the  high 
school.  Instinctively,  he  felt 
that  there  must  be  a  big 
story  back  of  all  this  commo- 
tion   on    Broadway    and    in 

Wall  Street,  there  must  be  laws  and  system  behind  all  of 
it,  and  he  wanted  to  know  them  before  he  would  attempt  to  take 
his  place  on  the  stage  as  one  of  the  actors.  That  he  would 
play  a  leading  role  was  beyond  question  for  him,  but  he 
wanted  to  be  well  prepared  to  know  his  lines  and  what  they 
meant. 

In  Harry  B.  Tremaine  we  meet  the  new  element  in  the  business 
world.  The  thorough  education  which  he  had  enjoyed  had  trained 
his  mind  in  logical  reasoning,  supporting  his  large  vision  for  utili- 
zation of  modern  inventions  and  discoveries  on  a  large  scale. 
Tremaine  had  the  great  advantage  that  he  had  nothing  to  forget. 
He  also  knew  how  to  apply  all  that  he  had  learned  in  relation  to 
modern  economics.  When  he,  in  1898,  took  charge  of  the  business 
of  the  Aeolian  Company  as  president,  he  surveyed  the  situation  as 


Harry  B.  Tremaine 


330 


IMAXOS  AXI)  TllFJK  :\rAKERS 


it  presented  itself.    His 
fatlier  had  laid  a  good 
t'oiuidatioii.     Votey  had 
IK'rl'ected    his    ]*iaiiola. 
How  to  oxi)l()it  what  he 
round,  to  its  riilicst  ex- 
tent,  was   the   problem 
for  Tremaine  to  solve. 
Believing  with   the  en- 
thusiasm   of    youth    in 
the     almost     boundless 
eommercial  possibilities 
of    the    new    automatic 
a])])liances   for  musical 
instruments,    he    knew 
that    success   was    only 
ol)tainable    if   adequate 
ca])itai    couhl    be    coin- 
bined    with    the    manu- 
facturing    and     selling 
organi/at  ion  liicii  at  his  conunand.    So  strong  was  his  faith,  so  plau- 
sibh'  tliL"  i.lans  which  he  had  worked  out  that  he  did  succeed  in  inter- 
esting men  of  affairs,  and  ol^tained  cajjital  by  the  millions  for  the 
fiirtlici'ancc  of  his  ambitions  plans.    Backed  l)y  this  abundant  capi- 
tal, he  lost  no  time  in  setting  his  machinery  in  motion.    The  adver- 
tising cam]iaign  for  the  Pianola,  which  he  inaugurated  immediately, 
stunned   tlic   old-timers   in   the   piano   trade.      Dire   disaster   was 
])i'o])hesiod  by  many,  but  Tremaine  knew  his  cards,  liis  carefully 
laid  |ihins  did  not  miscarry  and  no  one  to-day  denies  him  the  credit 
of  liaving  blasted  and  ]:>aved  the  way   for  the  po])ularity  of  the 
])lay('i-  ])iano.     Like  all  gi'cat   Us-kUm-s,  Tremaine  lias  tlie  talent  to 
pick  the  right  man  for  the  right  ]>lace.    He  found  an  able  assistant 


Edward  It.  I'crUins 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


331 


in  Edward  R.  Perkins, 
who  joined  the  Aeolian 
forces  in  1893  at  the  age 
of  24.  Perkins  exhibited 
such  ability  and  strength 
that  he  was  intrusted  with 
the  responsible  position  of 
vice-president  and  general 
manager  when  the  greater 
organization  was  completed. 

William  E.  Wheelock 
came  into  the  fold  as  i^resi- 
dent  of  the  Weber  Piano 
Company  in  1903,  and  is 
now  in  charge  of  the  finan- 
cial dei)artnient  as  treas- 
urer of  the  corporation. 

Tremaine  understands 
the  economy  of  high-priced  labor.  When  he  wanted  to  build 
the  best  player  pianos  he  secured  the  services  of  Pain, 
Votey,  Kelly  and  others  of  ability.  Just  as  soon  as  he  was 
ready  to  enter  the  piano  field  proper,  he  associated  with  the 
Weber  and  Steck  piano,  and  finally  made  a  combination  with  the 
house  of  Steinway  for  the  exclusive  use  of  the  Pianola  in  their  in- 
struments. Knowing  that  large  capital  can  be  economically  apjolied 
only  under  conditions  of  increasing  returns,  which  again  are  only 
possible  with  relatively  large  markets,  he  branched  out  and  went  into 
the  markets  of  Europe,  Asia,  South  America  and  Australia.  For 
the  stimulus  of  the  home  market  bidding  for  the  patronage  of  the 
wealthy,  Tremaine  built  Aeolian  Hall,  in  the  very  heart  of  New 
York's  fashionable  c[uarters,  engaging  the  best  artists  to  demon- 


Edwin  8.  Votey 


IMAXOS  AND  TllHlli  MAKERS 


strato     tlie     value     of     liis 
jii'odnets      at      the      elegant 
auditoiiuin.      In   1!H).')  lie  oi-- 
gaiiized  the  Aeolian,   Weber 
Piano  *.V:   l^ianola   Company, 
eapitalized      at      ^10,000,000 
and  eontrolling  the  following 
subsidiary    companies:    The 
Aeolian    ('om])any,    tlie    Or- 
chestrelle     Company     (Lon- 
don),   The    Chora  lion    Com- 
pany  (Berlin),  The  Aeolian 
Com]^any,  Ltd.  (Paris),  The 
Pianola    Company   Proprie- 
tary,  Ltd.    (Melbourne   and 
Sydney),   the  Weber   Piano 
Company,    George    Steek    & 
Company,    Wlieelock    Piano 
Company,    Stnyvesant    Piano    Company,    Chilton    Piano    Com- 
pany, Teehnola  Piano  (^ompany,  Votey  Organ  Company,  Vocalian 
Organ  Com])any  and  the  Universal  Mnsie  Company.     These  eom- 
panies  give  emi)l()yment  to  abont  5,000  ])oople,  scattered  all  over 
the  world.    Aside  fiom  the  extensive  piano  factories  in  New  York 
City,  and  the  pla>('r  factories  at  Garwood  and  Meriden,  there  is 
a  Sleek  piano  factory  at  Gotha,  Germany,  ])rodncing  3,500  pianos 
annnall\,  and  a   lai-ge  factory  for  the  Weber  i^iano  Company  is 
in  cdiirsc  of  const  ruction  at   TTayes,  near  London.     Operating  as 
independent  concerns,   these  com])anies   are  capitalized  at   about 
Jr4,000,000.      'I'lie   total    capital    em])loyed  under   the   direction   of 
llany   15.  Treniaine  amounts  to  ^^15,500,000,  which  is  more  than 
tlie  capital  inxcsted  in  the  entife  piano  and  organ  industry  of  the 
T^nited  Staler  in  iSiK). 


George  15.  Kdlv 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  333 

The  remarkable  results  achieved  by  Tremaine  within  so  short 
a  time  can  be  accounted  for  by  the  fact  that  he  learned  from  history 
what  others  had  to  learn  in  the  dreary  school  of  experience.  As 
an  observant  student,  he  saw  the  potentialities  of  mechanical  a])- 
])liances  for  musical  instruments  and  knew  how  to  develop  tliem. 
A  genius  as  an  organizer,  he  believes  in  combination  of  capital 
and  brains,  division  of  labor  and  responsibilities,  and  adequate 
compensation  for  all.  He  has  proven  that  a  higher  education  is 
not  an  hindrance  for  advancement,  but  a  necessity  for  progress  in 
industrial,  commercial  or  financial  pursuits.  He  has  made  his 
record  in  breaking  the  path  for  the  new  school  of  industrial  revo- 
lutionists in  the  piano  industry.  A  pioneer  of  the  most  forceful, 
aggressive  type,  he  is  withal  of  a  gentlemanly  and  most  retiring 
disposition,  shunning  publicity  to  an  unwarranted  degree. 

William  B.  Tremaine  died  in  1907,  having  seen  his  work  bear 
fruit  a  thousand-fold  under  the  magic  wand  of  his  gifted  son. 

How  rapidly  the  player  piano  is  forging  to  the  front,  with  almost 
irresistible  force,  is  clearly  demonstrated  by  the  tremendous  growth 
of  such  factories  as  seem  to  know  how  to  serve  the  public  best. 

Among  those  the  Autopiano  Company  has  made  its  mark  by 
producing  a  player  piano  of  distinctly  original  construction  and 
cjuality. 

The  demand  for  their  player  has  always  been  ahead  of  the 
capacity  to  supply,  and  artists  of  the  highest  standing  are  praising 
the  dominant  features  which  distinguish  this  instrument  from 
many  others.  Although  established  only  8  years  (1903)  the  Auto- 
piano Company,  under  the  aggressive  management  of  President 
R.  W.  Lawrence,  has  risen  to  a  position  of  one  of  the  largest  pro- 
ducers of  player  pianos.  Manufacturing  thoroughly  reliable  in- 
struments and  employing  comprehensive,  modern  business  methods 
the  Autoj^iano  Company  is  rendering  valuable  service  for  the 
introduction  of  the  player  piano. 


334  PTAXoS  AXD  TTTETK  AFAKEKS 

lU'('nii>;o  of  tlic  iiii])otiis  o-jvon  to  tlio  ])]ny(M--])inTio  indiiF^try  by 
the  exteiisi\<'  advertisiim-  of  llie  Aeolinii  ( 'oiiip.-iiiy,  Wilcox  tV  White 
Coinpaiiy  ainl  others,  a  deiiiaiul  for  a  rdiahie  phiyer  action  made 
itself  forc'il)ly  felt.  Chai'h's  Kolilcr  seized  ii])on  the  o])]iortunity 
and  cstahlishc'd  tite  Auto-i'neiiiualie  Action  Company  in  IDUU,  He 
secured  llic  a('ti\e  assistance  of  AV.  J.  Keeley,  Thomas  l)an<|nard 
and  other  experts.  Dampmrd  obtained  a  i)ateiit  in  tiH)4  for  a 
dc\  ice  caUcd  the  "  f1exil)h'  Hiii>er,"  by  means  of  whicii  the  wipi)en 
of  the  piano  action  is  attached  direct  to  tiie  player  mechanism,  thus 
eliiiiiiiatiiiii-  the  harshness  of  contact  and  impartiiii>-  elasticity  with- 
out  interfering  with  the  function  of  the  })iano  action. 

Because  of  their  excellent  quality  a  large  number  of  piano  manu- 
facturers have  ado])ted  these  actions  for  their  player  pianos.  The 
Aulo-i'neuniatic  Action  Comi)any  is  perhaps  the  largest  producer 
of  ydayer  mechanism  at  the  present  time. 

The  Standard  Pneumatic  Action  Com]iany,  the  Ampliion  Com- 
pany. Aiiston  Company,  Gul])ransen-Dickinson  Company,  Chase 
&  Baker  Com])any  and  Simplex  Piano-Player  Company  are  also 
making  history  for  the  player  piano. 

Among  the  ])heiiomenal  successes  of  latter  days,  the  firm  of 
Kohlci-  cV  ('anipl)ell  >1aiids  pre-eminent,  beginning  with  a  small 
cai>ital  in  isiKi,  this  firm  has  i)laced  over  120,000  pianos  on  the 
mai-ket  within   14  years. 

John  Calvin  Canii»l)eli,  horn  at  Newark,  N.  J.,  in  lS(i4,  Avas 
a  mechanical  genius.  After  serving  his  a|)prenticesliip  as  a 
machinist,  he  turned  to  constiMiction,  and  invented  several  useful 
wood  and  Iron  working  machines.  In  18f)0  he  took  uj)  ))iano  mak- 
ing and  made  a  scientilic  study  of  piano  construction,  lie  was 
so  successfnl  that  his  pianos  were  at  once  acce])ted  1)y  the  wliole- 
sale  ti'ade  as  of  splendid  connnercial  value,  and  he  saw  his  fii-ni 
rise  to  unexi)ected  magnitude.    He  died  in  1!)08. 

To  his  snr\  i\  ing  partner,  Charles  Kolilei-,  the  credit  is  due  of 
organizing  the  great  business  in  such  a  manner  as  to  keep  pace 


MEN  WPIO  HAVE  MADE  PIANO  HISTORY 


335 


with  the  demand  for  their 
pianos.  Born  at  Newark, 
N.  J.,  in  18(J8,  lie  attended 
the  public  school  and  studied 
for  one  year  at  Princeton  p 
College.  At  the  age  of  20 
he  turned  to  piano  making. 
Establishing  the  firm  of 
Kohler  &  Campbell,  he  found 
opportunity  to  display  his 
remarkable  talent  as  a  fac- 
tory organizer  and  business 
man.  Supjilementing  Camp- 
bell's ingenious  construction 
with  thorough  workmanship 
in  all  details  of  the  piano,  he 
made  advantageous  use  of 
modern  methods  in  manufac- 
turing and  produced  a  fine  piano,  which  he  could  offer  at  tempting 
prices  to  large  distributors.  The  remarkable  fact  is  to  be  recorded 
that  among  his  largest  customers  are  piano  manufacturers  of  note 
who  carry  the  Kohler  &  Campbell  pianos  in  their  various  retail 
warerooms. 

Naturally  modest  and  of  a  retiring  disposition,  Kohler  has  not 
been  active  in  any  of  the  general  trade  movements,  but  that  he  will 
be  called  upon  to  take  his  part  in  time  to  come  is  warranted  by 
the  record  which  he  has  made. 

The  American  Piano  Company  of  New  York,  incorporated  in 
June,  1908,  is  another  of  the  modern  combinations  of  large  estab- 
lishments. Capitalized  at  $12,000,000,  it  controls  the  factories  of 
Chickering  &  Sons,  in  Boston;  William  Knabe  &  Company,  in 
Baltimore;  Haines  Brothers,  Marshall  &  Wendell,  Foster  &  Com- 


John  C.  Campbell 


336  IMAXOS  AND  TIIHIR  MAKKKS 

)>aiiy.  Aiiii>ti(»ni;-,  Rrowstor  and  J.  B.  Cook  companies,  located  at 
Kocliestci-.  X.  \'.  ('.  II.  W.  l-\)st('r  of  C'liickeriiig  «S:  8ons  is  presi- 
dent (»r  llii>  coiiiiiaii} .  with  (ieorge  C  Foster,  George  L.  Eaton, 
Charles  11.  I'iddy  and  William  \\.  Ai'iiistroiig  as  vice-presidents. 
A\'liile  maintaining  retail  warerooms  at  New  Y'ork,  Boston,  Balti- 
more and  Washington,  this  comi)any  distributes  its  products  else- 
^vhel•e  tliruiigh  dealei's  exclusively. 

TIk"  house  of  ^^'ing  c^'  Son,  Xew  Yoi'k,  was  founded  in  1868  by 
Tamian  W.  Wing,  as  pai'tnci'  in  the  lirni  of  Doane,  Wing  &  Cushing. 
Lnnian  B.  AVing  died  in  1873,  and  was  succeeded  by  his  son,  Frank 
J>.  Wing,  who  admitted  li.  Delano  Wing  (his  son)  to  partnership  in 
1905.  Tills  firm  is  ])r()l)ably  the  pioneer  of  the  mail-order  busi- 
ness in  jiianos.  Building  a  reliable  instrument,  the  concern  has 
met  with  uninterrupted  success  during  the  43  years  of  its 
existence. 

Xew  ^'o^k  is  ])r()ud  of  such  names  as  Kranicli  &  Bach,  Stricli  & 
Zcidler,  ^Iclilin  cV  Sons,  Behr  Brothers,  Lauter  (of  Newark), 
W^issner,  Stultz  &  Bauer,  Ludwig  &  Company,  Pease  Piano  C^om- 
paii\.  Winter  cV  Com])any  and  otliers  who  are  making  history  as 
nianut'act  ui'ers  of  meritorious  ])ianos. 

riiiladelpliia  has,  besides  the  time-honored  Schomacker,  the 
Bla>ius,  the  Lester  and  the  Cunningham  Piano  companies — all  of 
whom  are  as  t I'ue  to  the  traditions  of  honest  values  in  pianos  as 
any  the  old  (j)naker  City  has  ever  ])roduced. 

Among  tile  fii-ms  wlio  liave  <lone  nmcli  to  keep  Boston  to  the 
front  is  the  Henry  V.  Miller  &  Sons  Pijino  Company.  Henry  F. 
Miller,  born  at  Providence,  R.  I.,  on  September  25,  1825,  was  edu- 
cated as  a  musician  and  ac(|uired  a  rejmtation  es])ecially  as  an 
organist.  His  coimuercial  inclimition  pronijited  him,  however,  to 
accept  an  offer  of  the  Boston  ])iano  makers.  Brown  &  Allen,  to  join 
their  forces  in  1850.    After  stud\  ing  with  this  concern  for  seven 


MEN  AVHO  HAVE  MADE  PIAXO  HISTORY 


33' 


years,  lie  accepted  a  more 
promising  position  with  en- 
terprising Emerson,  and  in 
1863  started,  in  connection 
with  J.  H.  Gibson,  wlio  was 
an  expert  scale  draughts- 
man and  constructor,  to 
make  the  "  Miller  "  piano. 
Success  followed  his  efforts, 
and  in  course  of  time  he 
admitted  his  five  sons  to 
X^artnership,  incorporating 
finally  under  the  name  of 
Henry  F.  Miller  &  Sons 
Piano  Company.  He  died  on 
August  4, 1884,  at  Wakefield. 
His  sons  took  up  the  work 
of  their  father  under  the  leadership  of  Henry  F.  ]\[iller,  Jr.,  con- 
tinually improving  their  product  so  that  many  of  the  greatest 
virtuosos  are  using  the  Miller  grand  pianos  in  their  concert  work. 
Besides  paying  proper  attention  to  the  development  of  the  musical 
character  of  their  instruments,  Miller  &  Sons  were  among  the 
first  and  most  persistent  advocates  of  architecturally  correct 
designs  for  piano  cases,  and  achieved  marked  success  in  that  direc- 
tion as  well. 

Aside  from  the  many  illustrious  names  founded  many  years 
ago,  Boston  can  proudly  point  to  younger  firms,  who  by  superior 
merit  of  their  production  are  adding  new  luster  to  its  fame  as  a 
piano-producing  center  of  the  highest  order.  It  was  in  1883  that 
Frank  A.  Lee  joined  the  John  Church  Company  of  Cincinnati, 
and  in  November  of  that  year  the  Everett  Piano  Company  was 


Henrv  F.  Miller 


338 


PIANOS  AND  THEIR  MAKERS 


st;n'1('(l  ill  Boston  through 
his  efforts.  The  name  Ever- 
ett was  elioseii  by  Cliurch 
l)eeause  of  its  en))lionions 
clearness,  wliicli  makes  it  as 
easy  to  I'emember  as  it  is 
easy  to  sjx'll.  .loliti  Chuivh 
and  the  other  associates  of 
Lee,  liaving  been  piano  deal- 
ers for  many  years,  started 
out  to  bnihl  a  commercial 
piano,  but  as  soon  as  Lee  be- 
came i^resident  of  the  Ev- 
erett Piano  C^ompany  he 
changed  that  policy  and  be- 
gan to  make  pianos  of  the 
highest  order.  It  took  years 
of  perseverance,  and  often 
discouraging  trials,  to  obtain  for  the  Everett  piano  that  recog- 
nition as  an  artistic  ]nano  which  it  deserved.  Lee  never  lost  faith 
in  its  lilt i male  success,  and  through  liis  determination,  ably  as- 
sisted liy  tlie  ai-tistry  of  his  su])(>rint(>iident,  John  Anderson,  he 
fiiiMlly  had  the  satisfaction  of  seeing  his  concert  grands  used  by 
Keisenauer,  Dr.  Xeitzel,  ( 'haiiiinade,  Cai'reno  and  other  leading 
virtuosos,  and  the  Everett  ])ianos  admitted  among  the  selected 
leaders  of  the  woi'ld's  piaiKxhuii. 

Tlie  Jolin  ('liurcli  (^oiiipaiiy  also  controls  the  Harvard  Piano 
Coiii|i;iii\-  of  Dayton,  Ky.,  and,  with  its  large  catalogue  as  music 
piililishei's,  is  a  grcnt  f;ictor  in  the  music  world.  Frank  A.  Lee,  as 
])resident,  has  guided  the  destiny  of  this  great  com])any  since  1894. 
The  Iveis  &  Pond,  Briggs,  Merrill,  Hume,  Jewett  and  Poole 
Companies,  Tlieodore  J.  Kraft  and  others  are  ni-iintainhig  the  tradi- 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


OOi 


tions  of  famous  Boston  mak- 
ers and  assisting  creditably 
in  making  history  for  tlie 
future. 

Turning  to  the  West,  we 
encounter  a  gahixy  of  bril- 
liant men  to  whose  excep- 
tional talents,  business  acu- 
men, shrewdness  and  cour- 
ageous farsightedness  the 
unparalleled  development  of 
the  industry  in  that  part  of 
the  country  must  be  ascribed. 
The  most  prominent  figure 
was  William  Wallace  Kim- 
ball. Descending  from  good 
old  English  stock,  Kimball 
was  born  on  a  farm  in  Oxford 

County,  Maine,  in  1828.  After  passing  through  the  high  school 
he  practiced  teaching  for  a  while,  but  soon  became  a  commercial 
traveler.  In  his  wanderings  he  came  to  Chicago,  and  was  so 
impressed  with  the  future  possibilities  of  the  little  city  that  he 
made  it  his  home  and  established  himself  as  a  piano  dealer  in 
1857.  He  sold  the  Chickering,  Hal  let  &  Davis  and  Emerson  pianos 
largely  in  his  early  days.  AVhen  Joseph  P.  Hale  introduced  his 
commercial  piano,  Kimball  took  hold  of  it  with  such  energy  that 
he  soon  became  the  largest  piano  dealer  in  the  West.  The  great 
Chicago  tire  of  1871  did  not  spare  Kimball's  warerooms,  which 
were  entirely  destroyed.  Kimball  immediately  ordered  a  new  stock 
of  pianos  from  his  manufacturers,  turning  his  home  into  an  office 
and  the  barn  into  a  piano  wareroom  until  he  could  find  new  quar- 


340 


PIANOS  AXn  TIIKIH  ^rAKERS 


tors  ill  the  business  center  of 
the  city.  In  what  liii^'li  es- 
teem Kimball  was  held  by 
the  people  of  u'lioiu  he 
bought  is  shown  by  the  faet 
that  Hale,  of  New  York,  tele- 
g'ra])lie(l  him  on  the  day  of 
the  lire,  "  You  can  draw  on 
me  at  oneo  for  $1()0,000." 
Hale  appreciated  the  good 
customer  and  demonstrated 
unlimited  faith  in  Kimball's 
integrity. 

A  born  organizer,  Kim- 
l)all  outgrew  the  limited 
sphere  of  the  local  ])iano 
dealer.  lie  branched  out  and 
became  a  jobber  on  n  large 
scale.  Among  his  first  em])loyees  was  a  lank  and  lean  farm- 
er's boy  from  Wisconsin,  who  showed  such  aptness  for  the 
])usin('ss  that  ho  soon  became  KimbalTs  right-hand  man.  Edwin 
Stai>k'ton  ("onway  was  just  the  man  to  carry  out  K'iinhairs  far- 
reaching  plans.  The  west  being  sparsely  settled  in  those  days, 
hul  rapidl}  lilling  up  with  a  s[)lundid  class  of  wealth-producing 
farmers,  ]»ianos  were  not  in  great  demand.  Kiml)all  resolved  to 
hiinu'  the  pianos  lo  the  farnici-'s  door,  lie  made  Conway  the 
general  field  organizer,  whose  duty  it  was  to  travel  from  place 
to  place  and  select  in  each  town  the  brightest  vouiig  fellow  who 
eould  be  liMisled  will)  consignments  of  organs  and  pianos,  which 
he  was  to  sell  to  the  farmers  of  his  neigiil)orhood.  Conway's 
personality,  his  energx',  [)ower  of  persuasion  and  convincing  man- 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  341 


ners  fitted  him  excellently 
for  that  work,  and  many  a 
prosperous  dealer  of  the  mid- 
dle west  proudly  calls  him- 
self to-day  a  ' '  Conway  Boy, ' ' 
meaning  that  he  was  induced 
by  Conway  to  enter  the  field 
and  profited  by  Conway's 
coaching.  Pretty  soon  Kim- 
ball had  a  net  of  agencies 
covering  the  entire  western 
country  and  the  proceeds  of 
his  yearly  sales  of  pianos 
and  organs  ran  into  the  mil- 
lions of  dollars. 

Bright  and  early,  on  a 
spring  morning,  Conway 
blew  into  the  author's  office, 
in  New  York,  explaining  in  a 

few  words  that  he  had  finally  convinced  the  '^  Governor  "  of  the  ne- 
cessity of  making  his  own  organs  at  Chicago,  and  now  wanted  all 
the  information  he  could  get,  in  order  to  buy  material.  Kimball 
had  resolved  to  climb  a  step  higher  and  become  a  manufacturer. 
Success  was  a  foregone  conclusion,  because  he  controlled  the  outlet 
of  thousands  of  organs,  and  even  his  piano  sales  at  that  time 
exceeded  the  imposing  number  of  4,000  per  year.  When  the 
organ  manufacturing  was  well  under  way,  he  started  in  1882  his 
piano  factory.  At  stated  before,  Kimball  was  a  born  organizer. 
With  unerring  eye  he  always  understood  how  to  pick  the  right 
man  for  the  right  place  and  to  keep  him  there. '  When  his  manu- 
facturing department  assumed  greater  proportions  he  sent  for 


Edwin  S.  Conway 


342 


riAXOS  Axn  ttietr  makers 


Ills  nephew,  AV.  Lufkin,  and 
cliar^-ed  him  with  the  nian- 
a.^ement  tliereof,  although 
i^iilkin  Jiad,  up  to  that  time, 
iievei-  l)een  inside  of  a  ])iano 
or  organ  factory.  Kimball 
was  original  in  all  that  he 
did.  lie  reasoned  that,  for 
the  management  of  sneh  big 
factories  as  he  contemi)lated, 
a  man  brought  np  at  the 
workdjench  or  at  an  office 
desk  would  have  too  narrow 
a  vision.  He  wanted  a  man 
who  would  just  as  readily 
plan  to  make  30,000  instru- 
w.  Luikiii  ments  a  year  as  5,000.    Luf- 

kin was  that  man.  He  made  the  first  5,000  pianos,  and  is 
turning  out  oO,000  instruments  per  year  now,  including  most 
imposing  church  organs.  Without  a  doubt,  the  Kimball  factories 
stand  without  a  parallel.  Not  only  are  they  ])roducing  all  i)arts 
of  the  i)iano,  from  the  case  U}),  including  iron  plates,  actions  and 
keys,  but  since  1904  the  entire  mechanism  of  the  ]>layer  ]nano  has 
been  also  made  there,  including  the  music  rolls.  To  the  small 
])arl(»i-  oigan,  the  building  of  church  organs  was  added  in  1890. 
Kimball  reversed  the  order  of  things.  Two  hundred  years  ago 
the  ciiuich-organ  builders  made  pianos  as  a  side  issue.  Kim- 
ball, evolving  from  a  small  retail  dealer  to  the  largest  piano 
manufacturer  in  the  world,  became  a  church-oi'gan  builder  as 
well. 

Kimball,  not  so  bold  as  Conway,  listened  carefully  to  the  lat- 
ter's  aggressi\e  plans,  worked  them  down  to  the  line  of  safe  pos- 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


343 


sibility  and  then  cliarged 
Lufkin  with  making  the 
goods  which  Conway  had  to 
sell.  A  splendid  trio,  with  a 
most  able  leader,  and  hence 
the  unparalleled  success. 
Kimball  saw  his  business 
grow  to  an  institution  with  a 
turnover  of  over  $4,000,000 
per  annum.  He  died  on  De- 
cember 15,  1904.  The  corpo- 
ration is  continued  with  C. 
N,  Kimball  as  president,  E. 
S.  Conway,  vice-president, 
and  W.  Lufkin,  treasurer. 

H.  D.  Cable,  born  at  AVal- 
ton,  N.  Y.,  in  1849,  spent  his 
early  days  on  a  farm.    After 

attending  the  AValton  Academy,  he  turned  to  teaching,  with 
such  success  that  at  the  age  of  17  he  was  elected  principal 
of  the  schools  at  Easton,  Pa.,  and  a  year  later  appointed 
superintendent  of  schools  at  Williamsport,  Pa.  In  1869  the  pub- 
lishing house  of  Barnes  &  Company  sent  him  to  Chicago  as  man- 
ager of  their  western  department,  and  for  11  years  Cable  filled  that 
responsible  position  with  great  success  and  fidelity.  In  1880  he 
formed  a  partnership  with  the  organ  builder,  F.  E.  AYolfinger, 
organizing  the  Wolfinger  Organ  Company,  which  was  changed  to 
the  Western  Cottage  Organ  Company,  and  later  on  to  the  Chicago 
Cottage  Organ  Company. 

Cable  applied  the  methods  used  in  selling  books,  as  far  as  pos- 
sible, to  the  organ  and  piano  business,  with  amazing  success.    Like 


?,u 


riAXuS  AXD  Tiii:iK'  MAKERS 


I 


Aic^^i  U-YV^I^A^ 


Kiiiil)all,  lie  was  a  born  or- 
ganizer and  ail  excellent 
Jiidii'e  of  incii  and  tlicii-  abili- 
ties. 'Tile  li-ainini;-  wlilcli  lie 
lia<l  ('nj()y(Ml  in  llic  book- 
sell  in, i;-  Imsiness  impelled  him 
to  introduee  system  in  his 
inannracturing-  and  sellini? 
organization,  with  all  that 
lliis  woi'd  implies  in  modern 
business  management,  and 
))erha])s  be  was  the  first  in 
the  piano  industry  to  profit 
hy  the  application  of  scien- 
tific accounting.  At  all 
events,  his  success  w^as  so 
ra})id,  and  his  business  as- 
sumed such  immense  propor- 
tions, that  it  became  the  wonder  of  his  contemporaries. 

Of  an  exceedingly  nervous  tom]^erament,  Cable  was  not  only 
a  rapid  thinker,  but  also  a  worker  of  extraordinary  capacity.  Him- 
self the  soul  of  honor  and  integrity,  he  treated  everybody  on  that 
l)asis,  ami  liis  keen  judgment  assisted  his  intuition  in  making  bold 
iiioNcs  (in  the  cliessboard  of  trade  with  advantageous  results. 
Stalling  out  in  his  enterprises  l)y  catering  to  the  demands  of  the 
masses,  he  aimed  for  the  highest  in  his  i)iaiio  production,  and  in 
IS'JI)  lie  coTisolidated  the  business  of  (\)novei'  Bi'others,  of  New 
York,  with  hi>  own,  secni-ing  at  the  same  time  the  valuable  assist- 
ance of  that  eniiiienl  piano  constructor,  rJ.  Frank  Oonover,  for  the 
manufacture  of  the  Coiiovcr  piano.  As  his  business  assumed 
larger  pro]iortions,  he  called  his  brothers,  Hobart  M.  and  Fayette 


...  1 


MEN  WHO  HAVE  MADE  PIANO  HISTORY         345 


S.  Cable,  to  his  aid,  and,  al- 
though he  had  surrounded 
himself  with  a  number  of 
able  men,  his  close  personal 
application  to  the  complex- 
ities of  his  large  business 
finally  undermined  his  con- 
stitution and  he  died  pre- 
maturely on  March  2,  1899, 
at  the  age  of  50. 

The  business,  having 
been  incorporated,  has  been 
continued,  but  the  name  of 
the  comjDany  was  changed  to 
the  Cable  Company,  in 
honor  of  the  founder.  F.  S. 
Cable  served  as  president 
until  1903,  when  he  started 
in  business  on  his  own  account.  He  was  succeeded  by  F.  S. 
Shaw,  under  whose  able  management  the  company  largely  ex- 
tended its  activities,  adding  a  department  for  plaj^er  pianos, 
and  paying  careful  attention  to  the  development  of  the  artistic 
Conover  x^iano,  preparing  for  the  introduction  of  the  same  on  the 
concert  platform.  In  the  short  space  of  20  years  the  Cable  Com- 
pany has  attained  a  position  as  one  of  the  great  leaders  of  the 
western  continent,  and  the  genius  of  H.  D.  Cable  has  shown  to 
contemporaries  the  great  possibilities  of  the  piano  business  in  its 
legitimate  channels. 

Lucien  AYulsin,  born  in  Louisiana  in  1845,  came  with  his  fa- 
ther's family  to  Cincinnati  in  his  early  childhood.  He  went 
through  the  Cincinnati  public  school  and  part  of  the  high  school. 
At  the  age  of  19  he  enlisted  with  the  Union  army,  at  first  serving 


346  i'iAXOS  AXD  TIIEIK  MAKEKS 

in  a  Koiitncky  iiir;iiiti>  hnltalion,  and  from  January,  1864,  until  the 
c'lul  of  llu'  war,  in  tiie  IVmrlli  Ohio  Cavalry,  In  Marcli,  1866,  lie 
ontcrod  tlio  employ  of  0.  IT.  Baldwin,  a  nmsic  toaelior,  who  was 
feelliiii;'  til*'  nc<'l<*'r  I'milicrs'  i)ianos  in  Cincinnati.  AVnlsiu  started 
ill  as  a  rici  k,  hookkcciuT  and  g-eneral  factotum,  and  made  himself 
so  useful  that  lie  was  a(hnitted  to  i)artnership  in  1873,  the  firm 
iianic  bet'Diuiiii;'  1 ).  11.  Ijaldwin  &  Company. 

An  era  of  expansion  and  larger  activity  was  inaugurated.  As 
tlie  lii^l  move,  a  branch  store  was  opened  at  Tndiana])olis.  In 
1878  the  Louisville  branch  was  started  under  the  management  of 
Ji.  A.  Johnston,  who  was  made  a  partner  in  1880.  After  John- 
ston's death  in  1882,  George  AV.  Armstrong,  Jr.,  Clarence  Wulsin 
and  A.  A.  \'an  Buren,  who  had  been  employed  by  the  firm  for  a 
number  of  j^ears,  became  ])artners.  With  the  growth  of  the  busi- 
ness the  necessity  of  manufacturing  became  more  and  more  ap- 
parent, and  in  1881)  the  Hamilton  Organ  Company  was  organized 
as  a  subsidiary  concern  for  the  making  of  organs — the  Baldwin 
riaiio  (\)mi)any,  X'alley  (Jem  Piano  Company  and  Ellington  Piano 
('ompaiiN'  soon  follo\ving.  Later  on  the  Hamilton  Piano  Com- 
liaii\  was  formed,  and  the  firm  of  D.  H.  Baldwin  &  Company 
changed  into  a  corporation  under  the  title  of  The  Baldwin 
Com])any,  the  latter  controlling  all  the  above  subsidiary  com- 
panies. 

1).  11.  lialdwin  died  in  ]8i)9,  leaving  the  l)ulk  of  his  estate  for 
niissionar\-  purposes.  Ordinarily  this  would  have  meant  the  wind- 
ing lip  of  the  hiisiness,  in  order  to  pay  out  the  large  amount  which 
represented  Baldwin's  interest,  but  AVulsin  did  not  ])ropose  to 
have  the  work  of  his  life  destroyed  through  an  act  of  the  man 
whom  he  had  made  wealthy  by  his  33  years  of  faithful  devotion. 
Together  with  Armstrong  he  arranged  to  buy  all  the  stock  of  the 
Jjaldwin  estate  and  of  the  only  remaining  partner,  A.  A.  Van 
Buren, 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  347 

Freed  from  all  interference,  the  two  partners  set  to  work  to 
develop  the  business  to  its  fullest  possibilities.  They  were  an 
excellent  team.  Wulsin,  the  man  of  ideas  and  business  foresight, 
enthusiastically  believing  in  the  progress  of  the  American  people 
and  the  perjietual  growth  of  the  nation,  planned  the  ultimate  ex- 
pansion. Armstrong,  the  mathematician  and  man  of  figures, 
worked  out  the  details  of  the  plans  to  never-failing  exactness.  As 
a  matter  of  good  business  policy,  stress  was  laid  in  the  beginning 
u^jon  the  commercial— the  money-making — part  of  the  business, 
with  proper  regard  for  the  building  up  of  a  reputation  for  reliable 
goods,  but  just  as  soon  as  an  efficient  number  of  artisans  had  been 
trained,  under  the  guidance  of  Superintendent  Macy,  the  develop- 
ment of  the  artistic  Baldwin  piano  was  taken  in  hand  with  avidity 
and  with  corresponding  success. 

Lucien  Wulsin 's  inborn  love  for  the  noble  and  beautiful  is 
stamped  upon  every  part  of  the  great  institution.  The  factories, 
located  opposite  beautiful  Eden  Park,  at  Cincinnati,  are  models  of 
decorative  architecture.  Instead  of  imprisoning  his  men  between 
four  plain  brick  walls,  Wulsin  engaged  an  architect  to  design  his 
factories,  with  orders  to  combine  the  beautiful  with  the  practical, 
paying  attention  to  hygienic  improvements.  Always  kept  scrupu- 
lously clean,  the  workrooms  in  the  Baldwin  factory  impress  the 
visitor  much  more  as  artists'  ateliers  than  as  piano  makers'  work- 
shops. The  walls  of  the  spacious  offices  are  decorated  with  pictures 
of  Greek  and  Eoman  structures  of  architectural  beauty,  to  train 
the  eyes  of  the  workman  for  proper  and  correct  forms ;  flower-beds 
surround  the  factories  and  living  flowers  are  to  be  found  at  the 
factory  windows.  An  air  of  refinement  permeates  the  entire  estab- 
lishment and  gentlemanly  behavior  is  a  characteristic  of  the  Bald- 
win employees. 

The  sound  policy  underlying  the  management  of  this  great 
business  is  best  described  in  Wulsin 's  own  words,  which  he  used 


348 


PTAXOS  AXl)  THEIR  MAKERS 


JJonjamin  Starr 


ill  ;i  k'ttci-  to  till'  author:  "  I 
realize  that  tlie  welfare  of 
oiir  (•()ini)any  and  the  success 
of  its  people  will  come  from 
a  fair  treatment  of  all  our 
men  and  the  awakening  in 
them  of  the  ideals  and  en- 
thusiasm which,  after  all,  do 
exist  in  the  average  human 
Ix'ing." 

It  is  not  to  be  won- 
dered at  that  the  Baldwin 
pianos  carried  ott'  the  high- 
est i^rizes,  wherever  ex- 
hibited, gaining  even  that 
much-coveted  distinction,  the 


Grand  Prix  at  the  Paris  Exposition  of  11)00.  Xor  does  it  recpiire 
an  ex]>hniation  why  Pugno  exclaims,  "  The  Baldwin  tone  is  bound- 
less; you  can't  get  to  the  bottom  of  it — can't  i)ound  it  out,"  and 
when,  on  the  other  hand,  jpsthetic  de  Pachmann  whisjiers  his  en- 
chanting C'ho))in  pianissimo  i)assages  on  that  same  piano.  The 
J>al(l\viii  piano  is  an  art  pi'oduct,  made  by  artists  who  are  living 
and  woiking  in  an  artistic  atmosphere,  because  the  man  who  created 
the  Baldwin  institution  is  an  idealist.  Lucien  AVuIsin  was  deco- 
rated with  the  Cross  of  the  Legion  of  Honor  at  tlie  Paris  Exposi- 
tion of  J'JOO. 

As  fai-  back  as  1849  an  Alsatian  by  the  name  of  Trayser  made 
pianos  and  melodeons  in  Indianapolis.  Drifting  about  the  country, 
he  came  to  Ri])ley,  ( )hio,  in  bSfiO,  where  he  started  a  piano  factory, 
which  was  removed  to  Richmond,  Tnd.,  in  1S72,  when  James  S. 
and  Ik-njamin  Stai'i-  ac(|iiii-(M|  ;iii  intci-cst   in  the  concern.     In  1878 


MEN  WHO  HAVE  MADE  PIANO  HISTOKY 


349 


Trayser  retired,  and  Milo  J. 
Chase  entered  the  firm,  the 
name  of  which  was  changed 
to  the  Chase  Piano  Com- 
pany. In  188-1:  the  Starr 
Brothers  obtained  control  of 
the  bnsiness  and  changed 
the  name  to  tlie  Starr  Piano 
Company,  with  Benjamin 
Starr  as  manager.  Upon 
the  retirement  of  James 
Starr,  Henry  Gennett  and 
associates  obtained  control 
of  the  company  and  began 
a  campaign  of  expansion 
which  has  made  the  concern 

i.     ,1         IT  c     ,1  Henry  Gennett 

one    01    the    leaders    of   the  ' 

middle  west.  Gennett  assumed  the  business  management  and 
opened  distributing  warerooms  in  many  leading  cities  of  the 
western  and  southern  States,  Benjamin  Starr  superintended  the 
factories,  ably  assisted  by  Harry  Gennett.  The  business  assumed 
immense  proportions  under  the  guidance  of  Henry  Gennett,  while 
his  son  Harry  developed  into  a  good  piano  constructor,  who  has 
done  excellent  work  in  improving  the  Starr  piano  and  promises 
more  as  a  piano  maker  for  the  future.  Benjamin  Starr  died  in 
1903,  having  had  the  satisfaction  of  seeing  the  small  factory  with 
which  he  started  grow  to  an  establishment  producing  annually 
about  18,000  pianos  of  a  quality  above  the  ordinary  market 
instrument.  It  is  the  laudable  ambition  of  Harry  Gennett 
to  see  in  the  near  future  the  Starr  concert  grand,  designed 
and  constructed  by  him,  used  by  artists  of  note  in  their  public 
concerts. 


350 


J'lAXOS  AND  TIIEIK  MAKERS 


111  tlic  romantic  vales  of 
l^)iinifort,  Coiiiity  of  Cork, 
Iri'laiid,  a  boy  was  born  on 
Marcli  17,  1840,  to  fanner 
llcaly,  the  tliirteeiitli  child 
of  a  poor  but  hapi)y  family. 
The  boy  was  christened 
Patrick  Joseph.  AVhen  the 
good  "  ould  sod  "  would  not 
yield  enough  to  support  the 
growing  family,  Plealy  sen- 
ior packed  up  his  worldly 
goods  and  took  his  family 
to  the  land  of  i)romise  and 
})ossil)ilities.  Patrick  Joseph 
was  10  years  of  age  when 
he  landed  in  Boston.  At- 
tending the  public  schools, 
be  had  an  eye  for  earning  money,  and  we  find  him  working  the  bel- 
lows of  a  great  chiiicli  organ  for  the  organist,  Bancroft.  This  man 
became  interested  in  the  Irish  lad,  and  when  llealy  had  finished 
liis  school  course  Baiici'oft  secured  for  him  a  position  as  errand 
boy  witli  the  music  tlealer,  (Jeorge  P.  Reed.  The  errand  boy  soon 
advanced  to  be  a  clerk,  and  we  next  find  him  in  a  responsible  posi- 
tion in  the  great  music  publishing  house  of  Oliver  Ditson  & 
Company. 

Ditson  had  a  keen  ])erce])tion  of  the  ]>ossibilities  in  the  rn]iidly 
de\cl()]iing  cities  of  the  west  and  planned  the  establishment  of 
l)ran('li  houses  at  ('ineinnati,  St.  Louis,  Chicago  and  San  Fran- 
cisco. Pie  gave  Plealy  the  choice^  of  eithei-  of  the  three  last  named. 
After  visiting  St.  Louis  and  Chicago,  llealy  wisely  decided  for 
the  latter,  and  in  ^^(')^■  tlic  nnii  of  Lvon  6c  Plealv  was  established 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  351 

under  the  protection  of  the  parent  house  of  Oliver  Ditson  &  Com- 
pany. To  encourage  the  young  men,  Ditson  predicted  that  they 
would  do  a  business  of  $100,000  per  year  within  10  years.  Healy 
reported  sales  of  over  that  amount  before  the  first  12  months  had 
passed !  The  piano  trade  of  America  has  produced  a  large  number 
of  ''  great  workers,"  but  it  is  the  opinion  of  all  who  knew  him 
that  Healy  outworked  them  all.  The  great  results  achieved  by 
him  are,  however,  due  not  only  to  the  amount  of  work  which  he 
performed,  but  largely  to  the  systematic  methods  he  applied. 

The  author  will  ever  remember  Healy 's  first  visit  to  his  New 
York  office.  After  the  usual  greeting,  and  every-day  question, 
"  How  is  business  with  you?  "  Healy  pulled  out  of  his  pocket  a 
small  black  note-book  and  read  off  statistics  as  to  how  many  letters 
had  been  received  daily  by  his  firm  during  the  past  month  as  com- 
pared to  the  same  month  of  one,  two  and  three  years  before.  The 
methodical  statistician,  the  mind  which  from  the  small  detail  could 
construct  a  prognostication  of  the  future,  was  thus  displayed.  It 
was  the  key  to  Healy 's  great  achievements.  Nervously  working  at 
the  store  during  the  daytime,  he  would  take  memoranda  of 
the  day's  doings  to  his  home  and  there  work  out  statistics  to 
guide  him  in  his  bold  undertakings.  Those  who  wondered  at 
Healy 's  positive,  unfaltering  aggressiveness  did  not  know  how  well 
he  had  fortified  himself  with  unfailing  figures  and  facts,  gathered 
from  his  comparative  statistics,  proving  the  correctness  of  his 
conclusions.  Thus  Healy  was  able  to  accomplish  more  in  one 
lifetime  than  would  ordinarily  be  possible  for  the  combined  efforts 
of  several  business  men. 

However,  searching  for  tlie  main  cause  of  the  success  of  the 
man  who  built  the  greatest  music  house  in  the  world,  we  find  it 
in  the  character  of  P.  J.  Healy.  Although  exacting  to  a  degree, 
his  sympathetic  character  enabled  him  to  draw  from  his  employees 
the  best  that  was  within  them  in  a  manner  which  made  all  of  his 


352 


PIANOS  AND  THEIR  :\rAKERS 


voiino'  men  enthusiastic 
workers  Tor  the  success  of 
the  firm.  Jnsl  and  lair  un- 
der all  conditions,  he  dis- 
})hiyed  a  sincere  solicitude 
for  all  who  worked  with  him. 
Like  all  leaders,  he  had  the 
faculty  of  i)icking  the  right 
man  and  putting  him  into  the 
right  ])lace.  -  As  Kimball 
found  his  Conway,  so  Healy 
discovered  in  another  Wis- 
consin farmer's  boy  the  qual- 
ities which  only  need  oppor- 
tunity for  develo})ing  into 
the  making  of  a  strong  man. 
Charles  X.  Post  entered  the 
emi)lov  of  I^von  &  Healy  as  a 
bookkeeix'r  in  ISfU,  when  16  years  of  age.  He  grew  up  to  be  Healy 's 
right-liand  man,  and  when  the  business  had  outgrown  the 
sphere  of  merely  dealing  in  nmsical  merchandise,  and  the 
manufacturing  of  instruments  became  a  necessity,  young  Post 
was  charged  with  the  i-esi)onsil)ility  of  managing  that  depart- 
ment. 

After  success  was  secured  in  the  making  of  guitars,  mandolins, 
etc.,  llealy's  anihition  was  to  1)nil(l  an  instrument  of  the  higher 
order.  Alihongli  the  I'h'ard  harj)  was  at  that  time  considered  to 
be  perfection,  Healy  knew  from  experience  that  even  that  renowned 
make  was  not  satisfactory,  and  he  cliarged  Post  with  the  work  of 
jiroducing  a  liai-p  wliicji  would  ])e  accepta))le  to  the  artists  as  supe- 
rior to  the  Erard.  i*ost  engaged  the  services  of  George  B.  Durkee, 
an  inventor  of  n(»te,  and  the  two  men  set  to  work  to  construct  a 


Lyon  &  Healy  Harp 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  353 

harp  wliicli  made  the  name  of  Lyon  &  Healy  famous  wherever 
orchestra  mnsie  is  played.  Dnrkee  went  at  liis  pi-oblem  with  a 
well-trained  scientific  mind  and  succeeded  in  constructing  a 
mechanism  which  did  away  with  the  irritating  "  Imzzing  "  so 
common  to  the  ordinary  harp.  He  further  developed  a  scale  so 
Ijerfect  as  to  make  the  playing  of  the  instrument  much  easier.  By 
enlarging  the  soundboard  he  furthermore  increased  the  volume  of 
tone  perceptibly.  The  first  liar})  was  turned  out  in  1886,  and 
Healy  had  the  satisfaction  of  seeing  his  instruments  accepted  by 
the  Gewandhaus  orchestra  of  Leipsic,  and  by  nearly  all  the  leading 
orchestras  of  Berlin,  Vienna,  Stuttgart,  St.  Petersburg,  New  York, 
Boston,  Chicago,  etc. 

The  building  of  church  organs  was  the  next  addition  to  the 
manufacturing  department,  which  had  grown  to  such  magnitude 
that  in  the  year  1890  over  100,000  instruments  were  turned  out. 
The  business,  started  in  1864  in  a  modest  manner,  had  steadily 
grown  until  it  was  known  all  over  the  globe  as  the  greatest  estab- 
lishment of  its  kind.  When  Lyon  retired  from  the  firm  in  1890, 
the  corporate  form  was  adopted,  with  P.  J.  Healy  as  president, 
Charles  N.  Post,  vice-president,  and  Kobert  B.  Gregory,  treasurer. 
The  concern  continued  in  its  onward  march  under  Healy 's  inspir- 
ing leadership,  extending  its  influence  in  all  directions,  but  Healy 
had  to  pay  the  penalty  for  drawing  to  excess  on  nature's  limita- 
tions. He  died  on  April  5,  1905,  at  the  age  of  65,  mourned  by  all 
who  knew  him,  honored  by  the  members  of  the  trade  with  the 
sobriquet,  "  The  grand  old  man  of  the  music  trade,"  leaving  his 
footprints  behind  as  an  example  to  coming  generations  that  hon- 
esty of  purpose,  application  to  duty  and  fairness  in  all  dealings 
with  fellow-men  make  life  worth  living  to  a  much  greater  degree 
than  the  mere  accumulation  of  wealth. 

Charles  N.  Post  succeeded  Healy  in  the  presidency  until  1908, 
when  he  retired  to  the  pleasant  life  of  a  gentleman  farmer,  on  his 


354 


IMAXOS  AXl)  TIlKIl^  MAKERS 


raiicli  ill  Suutlieru  Califor- 
nia. Tloaly's  foui'tli  son, 
I'aul.  lias  since  been  the  ae- 
ti\<'  I  lead  of  tlie  li'reat  corpo- 
ration, and  ui)oii  liis  iiistiga- 
iioii  llic  inaiiiifactiire  of 
pianos  has  been  added.  The 
factories  are  in  charge  of  his 
brother,  Mark  ilealy,  who  is 
studiously  prei)aring  himself 
foi-  the  career  of  a  master 
buikler  of  the  Lyon  &  Healy 
piano. 

( 'oming  from  a  family  of 
mnsical-instruinent  makers 
who  pursued  that  art  for 
generations  in  tlie  little  town 
of  Schoneck,  Saxony,  Rudolph  Wurlitzer  landed  in  New  York  about 
1S.')4.  His  career  was  such  as  usually  falls  to  the  lot  of  young  Ger- 
man emigrants  who  land  here  without  means,  but  endowed  with  a 
thorough  education  and  expert  knowledge  of  their  ])rofession. 
Struggling  for  the  tirst  few  years  to  earn  a  living,  he  finally  found 
liis  bearings  in  Cincinnati,  where  he  established  himself  as  an  im- 
l)orter  of  musical  instruments  in  1856.  With  the  enthusiasm  and 
n])timism  of  youth,  he  overcame  the  many  obstacles  and  difficulties 
facing  a  young  business  man  who  has  to  earn  his  capital,  and 
gradually  climbed  up  the  ladder  until  he  was  recognized  as  a  power 
by  his  contemporaries.  In  1800  his  eldest  son  Howard  was 
admitted  to  ]iartnership.  By  studying  the  musical-instrument 
business  in  all  its  ])hases  for  several  years  in  Kurope,  young- 
Howard  was  well  prepared  for  his  work  and  soon  made  his  pres- 


Rudolph  \^'urlitze^ 


MEN  AVHO  HAVE  MADE  PIANO  HISTORY  355 

ence  felt,  and  the  rise  of  the  house  of  Wurlitzer  to  its  pre-eminent 
position  dates  from  that  time.  Incorporating  in  1890  witli  a 
capital  of  $200,000,  as  the  Kndolph  Wurlitzer  Comj)any,  it  has  now 
increased  its  capital  to  $1,000,000,  and  owns  the  Kudolph  AVurlitzer 
^Manufacturing  Company,  also  with  a  capital  of  $1,000,000,  In 
the  course  of  time  two  other  sons,  Rudolph  H.  and  Farney  Wur- 
litzer, joined  the  concern,  each  taking  charge  of  a  department,  so 
that  at  the  fiftieth  anniversary,  in  1906,  Rudolph  Wurlitzer,  Sr,, 
was  able  to  retire  from  active  participation  and  enjoy  the  well- 
merited  rest  of  private  life.  The  Wurlitzer  Com])any  at  i)resent 
is  perhaps  the  largest  manufacturer  of  mechanical  instruments, 
including  player  pianos,  its  business  connections  covering  all  parts 
of  the  globe. 

Among  the  many  remarkable  men  who  have  made  their  mark 
in  the  development  of  the  })iano  industry  of  the  west,  William  H. 
Bush  stands  out  as  one  of  those  sturdy  characters  whom  mis- 
fortune only  spurs  on  to  greater  efforts. 

Coming  from  good  old  Holland  stock,  William  Henry  Bush  was 
born  in  1829  on  a  farm  near  Baltimore,  Md.  One  of  the  first  rail- 
roads built  in  the  United  States  ran  through  the  Bush  farm  to 
the  City  of  Baltimore,  and  we  find  William  as  a  lad  of  14,  with 
remarkable  enterprise,  contracting  for  the  use  of  the  steam  engine 
and  the  one  freight  car  of  which  the  railroad  could  boast  to  carry 
his  vegetables  to  Baltimore,  so  as  to  be  the  first  in  the  marketplace. 
In  1854  he  landed  at  Chicago  and  soon  engaged  in  the  lumber  busi- 
ness, accumulating  a  fortune.  The  great  fire  of  1871  burned  up 
his  lumber  yard  and  reduced  him  again  to  the  point  where  he  had 
started  17  years  before.  Success  was  his,  and  in  1886  he  started 
in  partnership  with  his  son,  William  Lincoln  Bush,  and  John 
Gerts,  under  the  firm  name  of  W.  H.  Bush  &  Company,  for  the 
manufacturing  of  pianos. 


356 


PIANOS  AND  THEIR  MAKERS 


William  L.  Bush,  ])()ni  in 
1S()1,  had  served  his  ap- 
prenticeshij)  with  Ooo.  H. 
Woods  lV'  ("oinpaiiy  as  an  or- 
i^aii  and  i)iaii<)  maker,  and 
from  1881  to  1883  as  sales- 
man t'oi-  the  W.  W.  Kimball 
r*om]iany.  dohn  TJerts  liad 
learned  jtiano  makin,i>'  in  Ger- 
many, tliorou.i^'hly  mastering 
all  Ijranehes  of  the  art. 

With  W\  IT.  Bnsli  at  the 

head  as  financier,  the  concern 

prospered     from     the     very 

start,  and  was  changed  to  a 

cor]^oration   in    1891    witli   a 

paid-up  cai)ital  of  $400,000. 

Phi  lanthropically  inclined, 

the  elder  Bush  |)lanned  to  create  for  Chicago  an  institution  which 

should  serve  music  and  th.e  arts,  but  before  his  well-conceived  plans 

matei'ialized  he  ])assed  away  in  1901  at  the  age  of  74. 

Tlie  I^)Usli  Temi)le  of  Music  was  started  in  1902  and  com])leted  in 
r.H);;,  and  stands  as  a  monument  to  the  enterprise,  energy  and  liber- 
ality of  the  Maiyland  farmer  boy,  as  one  of  Chicago's  landmarks. 
The  Conservatory  of  Music  connected  with  tlie  Bush  Temple 
was  founded  by  William  Lincoln  l)Ush  in  1!)01,  with  Kenneth  M. 
P)radley  as  Directoi-  and  Mme,  Fannie  Bloomfield-Zeisler  at  the 
head  of  the  piano  dei)artment,  the  position  now  being  occupied  by 
]\rme.  Julie  Rive  King.  Among  the  teachers  of  note  who  have  given 
luster  to  this  school,  the  great  violinist,  Ovide  Musin,  may  be  men- 
tioned. 


Willinin  TT.  P.ush 


,MEN  WHO  HAVE  MADE  PIAXO  HISTORY 


357 


William  L.  Bnsli,  a  tal- 
ented musician  himself,  is 
very  solicitous  for  the  last- 
ing success  of  this  music 
school,  Trhich  has  achieved  a 
far-reaching  reputation.  He 
also  established  similar  in- 
stitutions at  Dallas,  Tex., 
and  Memphis,  Tenn.,  thus  as- 
sisting in  the  propaganda 
for  musical  development  not 
only  as  a  manufacturer  of  ex- 
cellent pianos,  but  also  as  a 
lover  of  the  art  for  art's  sake. 
The  Bush  &  Gerts  Piano 
Company  is  known  for  its 
zeal  in  upholding  and  defend- 
ing the  ethics  of  the  piano 

trade.  AVilliam  L.  Bush  is  using  his  forceful  pen  with  telling  results 
in  the  warfare  against  the  illegitimate  stencil  and  dishonestmethods 
of  selling,  insisting  that  the  maker's  name  should  be  on  every  piano 
and  a  fixed  selling  price  established  by  the  maker. 

Albert  Krell,  born  at  Gelbra,  Germany,  on  September  10,  1833, 
came  to  America  in  1848  and  settled  at  Cincinnati  in  1849.  Coming 
from  a  family  of  musical-instrument  makers,  he  was  an  expert 
violin  builder,  and  started  in  business  at  the  age  of  16,  renting  a 
small  shop  in  the  rear  of  a  drug  store.  He  established  a  reputa- 
tion as  a  repairer  of  old  violins,  and  built  altogether  about  300 
new  instruments,  which  he  sold  at  prices  ranging  from  $150  to 
$300  apiece.  In  1889  he,  in  conjunction  with  his  sons,  Albert  and 
Alexander,  who   had  studied  piano  making  with   George   Steck, 


Albert  Krell,  Sr. 


358 


rr.wos  Axn  theik  makers 


started  a  i)iano  factory  nii- 
dci'  tlio  naino  of  tlic  l\]'oll 
I'iano  ('(»ini)aiiy.  Aloxaiulor 
(liod  ill  1895,  and  Albert 
Krell,   Si'.,   in    11)00. 

After  his  brother's  death, 
Albert,  .Jr.,  retired  from  tlic 
('()]ii})aiiy  and  organized  the 
Krell-Freneh  Piano  (Com- 
pany of  Springtield,  Ohio. 
This  concern,  after  a  disas- 
trous fire,  moved  to  New 
Castle.  Albert  Krell  re- 
signed from  this  company  in 
1905  and  started  the  Anto 
Grand  Piano  Compan}'  of 
America  in  Connersville, 
iml..  making  the  niannfactnre  of  player  pianos  a  specialty. 

Among  the  successful  ])ioneer  piano  makers  of  the  west  Braton 
S.  Chase  has  made  his  mark.  Tracing  his  connection  with  the 
Iradc  back  to  1869  when  his  father  started  the  Chase  Piano  Com- 
])aiiy  at  Richmond,  Ind.,  I>raton  accjuired  a  thorough  and  practical 
knowledge  of  the  art  under  his  father's  tutelage. 

Tn  1889  he  formed  a  connection  with  C.  H.  Ilackley,  the  philan- 
thropic liinibei-  king  of  Muskegon,  Mich.,  and  started  the  Cliase- 
llackley  Piano  Com))any,  for  which  enter])rise  he  soon  secured 
7*ecognition  as  one  of  the  leading  ])iano  jiroducers  of  the  west, 
t'ully  realizing  Ilackley 's  desire  to  bring  fame  to  the  City  of 
Muskegon  as  the  home  of  the  Chase  Brothers  and  Chase-Hackley 
l)ianos. 

Among  the  many  stui'dy  and  thrifty  German  emigrants  who 
have  done  so  much  in  the  development  of  the  great  middle  west, 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


359 


Mathias  Sclnilz  was  one  of 
those  typical  characters 
whose  will-power  could  not 
be  downed  by  adversity  or 
obstacles.  Born  at  War- 
burg, Germany,  in  18-12,  his 
mother  being  left  a  widow 
at  the  time  of  his  birth,  the 
child  had  of  necessity  to  be 
placed  with  relatives  until 
he  reached  the  age  of  11, 
when  he  became  entitled  to 
the  privileges  of  the  military 
orphan  asylum  ai  Potsdam 
because  of  his  late  father's 
services  as  a  soldier.  At  the 
age  of  14  he  was  apprenticed 

to  a  cabinetmaker.  Just  as  soon  as  he  had  served  his 
time  he  took  to  "  wandern  "  and  started  to  visit  his  dear 
mother.  Arriving  at  his  home  town,  he  learned  that  his  mother 
had  been  buried  two  weeks  previous.  Broken-hearted,  he 
started  on  his  journey  again,  leaving  it  to  fate  where  he  might 
land. 

Sentimentally  inclined,  young  Schulz  felt  his  lonesomeness  in- 
tensely and  resolved  to  enlist  as  a  soldier,  just  to  get  comrades 
and  companionship,  to  find  someone  who  would  take  an  interest 
in  him  and  for  whom  he  could  care.  But,  fortunately  for  him,  fate 
intervened.  The  day  before  his  physical  examination  by  the  mili- 
tary authorities  he  broke  his  shoulder-blade  and  was  not  accepted. 
With  no  prospect  for  a  military  career,  he  longed  to  go  to  America, 
and  started  for  London,  where  he  expected  to  earn  enough  money 
to  pay  his  passage  to  New  York.    He  found  work  in  a  piano  factory 


Mathias  Schulz 


?»fiO 


IMAXOS^   AXn  TTTKIl?   MAKKKS 


niid  I(';ii-ium1  llic  art  as  it  had 

lIlCll    llCCll    (1('\'('1()1)('(1.        Ai'tci' 

a  two  years'  stay  in  London 
he  sailed  for  Xe\Y  \'oik  in 
1868  and  made  Ins  home  in 
Chicano.  Tlie  piano  indiis- 
ti-y  l)eing  then  in  its  infaney 
in  America,  Sehnlz  returned 
to  cabinetmaking  and,  in 
])artnerslii])  witli  two  eo1- 
leagues,  started  a  sho])  at 
diieago  in  ISGD.  In  ISK) 
Seiuilz  luniglit  ont  his  ])art- 
ners,  AVitli  remai-kahh'  en- 
ergy lie  overcame  all  tiie  difli- 
eulties  which  beset  a  young 
manufacturer  wlio  lacks  ex- 
y>eri('n('e  as  well  as  capital,  and  his  sui)eri()r  craftsmanship),  ex- 
traordinai-y  capacity  for  work,  together  with  his  inhorn  honesty 
and  integrity,  soon  hronght  prosperity  and  his  ])usiness  grew 
steadily.  Tn  1889  it  had  assumed  such  large  ])roportions  that  it 
was  incorporate<l  under  the  name  of  M.  Schulz  Company,  with  his 
son.  Otto  Sehnlz,  as  vice-])resident.  The  mamifacturing  of  organs 
and  pianos  was  now  made  a  specialty. 

Like  ni,ni\  pioneers,  Schuiz  had  overtaxed  himself  in  the  al- 
ien 1 1  >!  to  satisfy  ambition  and  i)assed  away  in  1899  at  the  age 
of  37. 

Plis  son,  Otto  Schuiz,  succeed('(l  him  as  ]^resident.  T"^nder  his 
aggressive  leadership  the  company  has  forced  its  way  to  the  front 
rank  of  large  producers  in  the  piano  industry.  The  business 
started  by  the  (lerman  orphan  boy  has  grow^n  to  imposing  [)ropor- 
tions,  with  s])lcndid  ])ros])ects  for  future  development. 


otto  :>cliulz 


MEN  WHO  HAVE  MADE  PIANO  HISTOKY 


361 


'a) 


Born  in  Suavia  about 
CO  years  ago,  John  V.  Steger 
inherited  all  the  characteris- 
tics peculiar  to  the  scions  of 
the  Bajuvarian  tribe.  Ener- 
getic, shrewd  and  tenacious, 
they  are  known  to  make  tlieir 
way,  irrespective  of  sur- 
roundings or  conditions. 

At  the  age  of  17  Steger 
landed  at  Chicago  and  found 
employment  in  a  brass  foun- 
dry. Having  accumulated  a 
small  capital,  he  formed  a 
partnership  with  a  piano 
tuner  and  opened  a  piano 
store.  It  was  but  a  short 
time  after,  when  Steger  be- 
came sole  owner  of  the  business,  in  which  he  prospered  beyond  his 
fondest  dreams. 

Observing  how  other  piano  dealers  had  drifted  into  piano  manu- 
facturing with  great  success,  Steger  bought  out  a  small  concern 
which  owned  a  factory  near  Chicago,  and  following  the  example 
set  by  J.  P.  Hale,  commenced  to  manufacture  a  commercial  piano 
for  the  wholesale  trade.  Satisfied  with  a  comparatively  small 
margin  he  soon  created  a  large  demand  for  his  product.  Around 
the  permanently  increasing  factory  buildings  in  the  prairie,  the 
town  of  Steger  grew  up.  Ambitious  to  be  counted  among  the  lead- 
ers of  the  industry,  he  made  use  of  every  opportunity  to  enlarge 
his  business.  A  shrewd  financier  and  one  of  the  boldest  manip- 
ulators in  the  piano  trade,  Steger  accumulated  great  wealth  in  a 
comparatively  short  period  and  is  at  present  counted  among  the 


^r^ 


302 


PIANOS  AND  TTIFJT7  ^FAKERS 


largest  producers  of  ]^ianos 
ill  tlie  west. 

Among  the  pioneers  of 
tlie  western  piano  trade, 
.hiliiis  l>aner  (S:  Coinpany 
have  always  iiiaiiitaincd  a 
reputation  for  producing  a 
lii.i;li-gi'a<l('  piano  of  merit. 
l'\)Uiided  in  1857  by  Julius 
r>auer,  the  business,  since 
tlic  death  of  the  founder  in 
1884,  lias  been  under  the  able 
management  of  his  son,  AVil- 
liam  ^l.  Bauer. 

History  is  made  for  the 
west  by  such  names  as  Chick- 
ering  Brothers,  Bush  &  Lane, 
George  P.  Bent,  Xewinan 
Brothers,  the  ^Vrelyille  Clark  Piano  (\)mpany,  Schumann 
Piano  (Vmipany,  Gram-Richtsteig,  Grinnell  Brothers,  the  Far- 
rand  Tompany— famous  for  tlie  manufacture  of  high-grade 
instruments. 

The  fact  thai  Chicago  has,  during  the  past  decade,  become 
the  greatest  ])iano  market  in  the  world  is  largely  due  to  the  energy 
and  eiitcrpiisc  of  firms  like  Smith,  liarnes  &  Stroliber  Coini)any, 
Price  k  Teeple,  llobart  M.  Cable  Conii)any,  Scliaeffer  Piano  Mfg. 
Comi)any,  (*able-Nelson  l*iano  Company,  Adam  Scliaaf,  Schiller 
Piano  Company,  the  Iladdorff  Piano  Company,  the  Straube  Piano 
Company,  P.  A.  Starck  Com]iany,  Arthur  P.  King,  H.  P.  Xelson 
Company,  and  othci's,  who  manufacture  ])ianos  in  (piantities  of 
from  3,000  to  15,000  per  year  in  their  modern  establishments.    It 


Juliu>^  Bauer 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


363 


is  claimed  that  the  large 
western  factories  are  at 
present  able  to  give  the 
greatest  value  in  the  market, 
which  accounts  to  some  ex- 
tent for  the  unprecedented 
growth.  Although  scarcely 
25  years  old,  the  western  fac- 
tories supply  to-day  fully 
half  the  pianos  sold  in  the 
United  States. 

All  the  pioneers  in  the 
organ  trade  of  the  United 
States  have  eventually  turned 
to  piano  making,  in  most  in- 
stances discarding  the  organ 
altogether. 

Farming  in  New  Hamp- 
shire  has   ever   been   a   most   precarious   occupation,   the   rocky 
soil  and  long  winters  seldom  enabling  even  a  hard-working  and 
intelligent  farmer  to  support  his  family.     Jacob  Estey  was  born 
on  such  a  farm  near  Hinsdale,  N.  H.,  on  September  30,   1814. 
When    only    four    years    of   age   he    had    to    leave    his    parents' 
home  to  be  supported  by  a  neighboring  farmer.     The  boy  had  to 
work  very  hard  for  his  meals  and  scant  clothing,  but,  being  made 
of  the  right  stuff,  he  ran  away  when  13  years  of  age  and  escaped 
to  Worcester,  Mass.,  where  he  was   apprenticed  to  a  plumber. 
After  serving  his  apprenticeship  he  took  to  traveling,  following 
his  profession,  and  landed  in  1834  at  Brattleboro,  Vt.,  the  town 
which  was  to  become  famous  all  over  the  world  because  of  the 
organs  which  Estey,  later  on,  made  there  and  sent  to  all  parts  of 
the  globe. 


364  riAXoS  AND  TliKlK  MAKKKS 

in  IS'o')  111'  f>lal)lislied  his  own  ])hnnbing  shop.  Thrift  and 
econnniy  hroni»lit  him  woalth,  so  that  in  1848  he  coukl  erect  a 
hirge  huildini;-  on  Main  Sti-eet.  Tlie  upper  jiai't  of  tliis  buihling 
hi'  rented  to  a  iiiehxh'on  maker  hy  the  name  of  Greene.  Having 
surphis  munev  to  invest,  J'^stey  Ijuuglit  an  interest  in  the  mehxleon 
l)nsiness,  eontliniing,  liowever,  liis  ])i-otitahh'  jtlnnihing  esta])lish- 
nient.  Kire  destroyed  tlie  buihling  in  1.8r)7,  and  Kstey  found  him- 
self almost  a  ])oor  man  once  more,  as  all  liis  money  liad  finally 
been  invested  in  the  nielodeon  factors'.  AVitli  the  grit  of  tlie 
^  ankee,  Estey  did  not  give  up.  He  liad  observed  the  i)0ssi- 
bilities  of  the  oi-gan  busiiiess,  and  within  a  year  he  started  again 
t(»  hnild   parloi"  oi'gans. 

In  1S()0  he  engaged  Levi  1\.  Fuller  as  engineer.  Fuller  was 
then  only  ID  years  of  age,  but  had  studied  mechanics  so  thor- 
oughly' that  he  became  most  valuable  to  Fstey.  The  business  grew 
l)y  leaps  and  bounds.  Superior  (piality  was  the  watchwoj-d  all 
thidugh  the  factory.  Fuller  was  admitted  to  partnership  to- 
gether with  f'.stey's  son  -Julius  in  18()(),  when  the  Estey  Organ 
Company  was  oiganized  with  Jacob  Estey  as  i)resident,  Levi 
K.  Fuller,  vice-])i'esident,  and  .lulius  Estey,  secretary  and  treas- 
nici'.  From  its  small  beginning  the  production  of  the  Estey 
factories  rose  to  an  output  of  1,800  organs  p)er  month.  The 
Estev   factory   l)ecame   the   alma    nuiter   of   a    number   of   voung 

•  •  •  o 

students  who  later  on  made  luimes  for  themselves  in  the  organ 
worhh  Jose])h  AVarren,  of  Clough  &  AVarreu;  the  four  AVhites, 
father  and  sons,  of  Wilcox  &  AVhite  fame;  Stevens,  of  tlie  Stevens 
Oi-gan  Company;  Putnam,  of  the  Putnam  Organ  Conii)any, 
W light,  of  Afason  &  Ilamlin,  and  last,  but  not  least,  Votey,  of  the 
Aeolian  Oomi)any,  are  all  graduates  of  the  Fstey  school  of  organ 
1iuildi]ig.  fn  1885  the  Estey  Piano  Oom))any  was  organized,  estab- 
lishing a  large  factory  in  New  York  City.    Branch  stores  had  been 


MEN  WHO  HAVE  MxVDE  PIANO  HISTORY 


365 


established  in  New  York,  St. 
Louis,  Philadelphia,  Boston, 
Chicago,  London  (England), 
and  elsewhere.  Wherever 
exhibited,  the  Estey  pianos 
and  organs  carried  off  high- 
est awards  for  superior  con- 
struction and  workman- 
ship. 

Jacob  Estey  was  a  man 
of  firm  character,  molded  in 
the  school  of  adversity  from 
his  earliest  childhood,  but, 
perhaps  because  of  his  own 
sufferings,  he  became  a  very 
sympathetic  employer  and 
enjoyed  the  respect  and  love 
of  his  employees.  He  died 
on  April  15,  1890. 

Levi  K.  Fuller  was  a  born  scientist  and  did  valuable  service  in 
the  improvement  of  the  Estey  organ.  A  great  reader  and  student, 
he  was  well  versed  in  acoustics,  and  his  collection  of  tuning-forks 
and  acoustic  apparatus  exhibited  at  the  AVorld's  Fair,  Chicago,  in 
1893,  was  honored  with  a  special  award  by  the  judges.  Fuller 
served  as  Governor  of  the  State  of  Vermont,  and  received  numer- 
ous other  public  honors  in  recognition  of  his  ability.  Ambitious 
and  conscientious  to  an  exalted  degree.  Fuller  would  often  over- 
work himself  in  a  manner  which  finally  caused  his  untimely  demise 
on  October  10,  1896,  at  the  age  of  55. 

Julius  Estey,  like  his  father,  was  an  enterprising  but  careful 
business  man.     After  the  death  of  his  two  senior  partners,  the 


3G6  I'lAXOS  AXl)  TTIETR  .MAKERS 

iiiaiiagoineiit  of  tlio  ])usiness 
rested  upon  liiiii,  and  with 
tlio  iiiboi'ii  I^st('>'  spii'it  lie 
s()iiii,'lit  for  new  fields  in 
which  to  expand  the  l)usiness 
and  spread  the  fame  of  the 
name  of  Poster.  He  com- 
menced the  buildini>'  of  large 
^^^L.  ^-^^  cluircli  organs  in  1901,  erect- 

J^H^  iiig  a  special  factory  with  the 

most  modern  e(inipment  for 
that  purpose.  It  was  not  for 
him  to  see  the  full  develop- 
ment of  this  new  enterprise, 
lie  died  on  March  7,  1902, 
aged  57.  His  sons,  Jacob 
Julius  Estey  ^^ay  Estey  and  J.  Harry  Es- 

tev,  succeeded  him  as  man- 
iigers,  enjoying  the  services  of  their  trusted  office  manager,  L. 
W.  Hawley,  who  has  been  in  the  continued  service  of  tlie  Estey 
Com})any  for  over  50  years. 

Jolm  Boulton  Simpson  acquired  control  of  the  Arion  Piano  in 
1S()!),  and  manufactured  high  grade  pianos  until  1885,  when  lie 
formed  a  comhination  with  the  Estevs,  bv  which  the  name  was 
<*lianged  from  Arion  Piano  Company  to  Estey  Piano  Company. 

A  large  factory  witli  modern  ai)i)liances  was  erected  in  New 
York,  and  the  Estey  grand  and  upright  pianos  soon  became  a 
dominant  factor  In  the  piano  trade.  John  Boulton  Sim])Son 
is  still  j)resident  of  tlie  company,  assisted  by  Jacob  Gray 
Estey  and  J.  Harry  Estey  as  active  business  managers,  main- 
taining the  i)restige  of  the  Estey  reputation  for  high-class 
l)roducts. 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


367 


Every  now  and  then  we 
hear  of  a  genius,  born  on  the 
rocky  soil  of  New  England, 
who  has  music  in  his  soul. 
Being  the  exception,  this 
trait,  when  existing,  is  usu- 
ally so  forceful  that  such  a 
man's  life  will  be  entirely 
wrapped  up  in  it,  in  contra- 
distinction to  his  fellow- 
Yankee,  who  as  a  rule  is 
shrewd  and  practical,  but 
cannot  whistle  a  simple  tune 
correctly.  Henry  Kirk  White 
was  born  and  raised  on  a 
farm  near  Hartford,  Conn. 
His  family  dates  back  to 
the  good  old  English  stock 
of  the  early  settlers  who  landed  at  Nantasket,  Mass.,  in 
1630.  Supposed  to  spend  his  life  on  the  "  home  place,"  Henry 
thought  more  of  music  than  of  farming.  W^ith  no  opportunity 
for  musical  education,  his  natural  ability  made  him  a  teacher 
of  singing  and  leader  of  choruses  at  the  age  of  twenty.  He 
learned  the  art  of  tuning  pianos  and  organs,  and  traveled  from 
place  to  place  following  that  profession,  acquiring  valuable  knowl- 
edge as  to  the  various  constructions  of  these  instruments.  In  1845 
he  began  to  make  musical  instruments  and  two  years  later  manu- 
factured melodeons  at  New  London.  In  1853  he  removed  his  fac- 
tory to  Washington,  N.  J.  The  Civil  War  compelled  him  to 
abandon  his  enterprise  and  take  up  his  abode  at  Philadelphia,  where 
he  found  a  rich  field  as  a  tuner  and  repairer  of  pianos  and  organs. 


Henry  Kirk  White 


3GS 


PIAXUb;  AND  TllKlK   MAKERS 


Ho  established  a  reimtation 
as  ail  cxiicrt  tuner,  and  in 
1805  the  great  Estey  Or^an 
Conipaiiy  ealled  liini  to 
Brattleboro,  Vt.,  as  sui)er- 
inteiident  of  tlieir  tun- 
ing (h'partnu'iit.  lie  worked 
with  the  Kstey  Company 
twelve  years,  and  du  ring- 
that  time  taught  his  three 
sons  the  art  of  organ  making. 
When  in  1S77  that  great 
captain  of  industry,  IT.  C. 
Wilcox  of  Meriden,  made 
White  and  his  sons  a  tempt- 
ing offer  to  start  an  organ 
factory,  the  family  packed 
\\\)  their  l)elongings  and 
moved  to  ^Nferiden,  Conn.  The  Wilcox  &  White  Organ  Company, 
capitalized  at  $100,000,  was  organized,  and  the  White  family  be- 
gan to  make  their  im])rint  on  the  history  of  organ  and  ])iano 
Imilding  in  the  United  States. 

The  oldest  son.  .lames  H.  White,  born  on  September  26,  1847, 
had  scivcd  for  a  iiuiuhcr  of  years  in  the  AVanamaker  house  at  Phila- 
del])liia,  studying  comnicrcial  usages  and  merchandising,  before  he 
leai'Tied  oi'gau  building  at  Kstey's.  Tt  was  but  natural,  therefore, 
that  he  should  be  intrusted  with  the  business  management  of  the 
new  coiicerii.  Like  his  t'athei-.  burn  with  considerable  talent  and 
lo\('  for  iiiiisic,  we  find  him  as  a  young  man  playing  the  organ  in 
his  church  at   liratt lehoio,  Vt. 

I  laving  ac<|uire(l  a  thoi-ough  knowledge  of  the  works  of  the  great 
composers,  and  being  an  expert  Judge  of  tone  and  tone  quality. 


James  11.  White 


MEN  WHO  HAVE  MADE  PIANO  HISTOT^Y 


369 


James  H.  Wliite  would  ever 
searcli  for  the  bigiiest  in 
tone  production,  and,  to- 
gether witli  his  brothers, 
supplemented  the  inventions 
of  his  father.  The  records 
of  the  United  States  Patent 
Office  sjieak  volumes  of  the 
valuable  contributions  which 
the  White  family  has  made 
to  the  industry,  but  his 
greatest  service  to  the  com- 
pany was  the  courage  and 
energy  which  he  displayed 
in  times  of  stress  and  dan- 
ger, steering  the  ship  clear 
of  breakers  and  advancing 
the  prosperity  of  the  con- 
cern in  the  face  of  apparent  adversity.  Strong  as  his  father  and 
brothers  were  as  inventors  and  technicians,  without  the  artistic 
and  commercial  genius  of  James  Henry,  the  company  would 
hardly  have  reached  that  dominant  position  which  it  occupies 
to-day. 

Edward  H.  White,  born  Ai)ril  5,  1855,  inherited  the  inventive 
genius  of  his  father  and  made  his  mark,  especially  by  inventing  the 
Angelus  piano  player,  which  at  once  brought  that  comi)any  to  the 
front  in  the  industry  of  jnano-playing  mechanism.  He  died  Sep- 
tember 16,  1899,  at  the  age  of  forty-four  years. 

Howard  White,  the  youngest  of  the  three  talented  brothers,  was 
born  on  Sei)teniber  9,  1856.  After  he  had  mastered  all  branches  of 
the  art  he  was  intrusted  with  the  management  of  the  large  fac- 
tories, which  in  the  course  of  time  had  grown  to  a  huge  establish- 


Edward  11.  Wliite 


370 


riAXOS  AXl)  TIIEIK  ?^IAKERS 


meiit.  He  a[)plied  himself 
so  zealously  to  his  manifold 
duties  that  he  passed  away 
on  December  9,  1897,  aged 
only  forty-one  years.  The 
founder,  TTenry  Kirk  "White, 
(licMl  .lannary  i:5,  1907. 
James  H.  White,  the  only 
surviving'  member  of  the 
founders,  still  guides  the 
destiny  of  the  great  corpo- 
ration, which  now  employs  a 
capital  of  $+.30,000. 

After  tile  decease  of  Ed- 
ward and  Howard  W^hite, 
Prank  C.  WHiite,  son  of 
James  Henry,  was  placed  in 
charge  of  the  mechanical  de- 
partment of  the  factory.  He  was  always  of  a  very  decidedly 
inventive  turn  of  mind,  and  to  him  are  due  many  valuable 
improvements  and  devices  that  have  made  the  Angelus  world 
renowned. 

As  a  connnercial  enterprise  the  Sterling  Company  of  Derby, 
Conn.,  is  one  of  the  earliest  successes  in  history.  Taking  over  the 
assets  of  what  was  known  as  the  Birmingham  Organ  Com]iany  in 
1871,  Charles  A.  Sterling  organized  in  1873  the  Sterling  Organ 
Company  with  a  ca])ital  of  $.")0,000.  The  manufacturing  of  pianos 
was  conmienced  in  1885.  Shortly  after,  J.  R.  Mason  joined  the  com- 
pany, acting  as  secretary  and  treasurer  until  1901,  when  he  was 
elected  to  the  ^iresidency.  A  thorough  piano-man,  with  many  years 
of  experience   in  the  west,  where  he  was  born  in  1847,  Mason 


J  Iowa  1(1  White 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


371 


developed  the  business  of 
the  company  to  its  present 
magnitude,  improving'  the 
quality  of  tlie  instruments  in 
every  respect,  being  particu- 
hirly  successful  in  producing 
a  satisfactory  player  piano. 
The  company  is  now  counted 
among  the  largest  producers 
of  pianos,  and  the  capital 
stock  has  been  increased 
from  $30,000,  in  1873,  to 
$1,000,000. 

A  number  of  working- 
men  skilled  in  the  art  of 
organ  building,  started  the 
Detroit  Organ  Company  on 
a  co-operative  plan  in  1881. 

Like  all  such  Utopian  undertakings,  the  enterprise  did  not  suc- 
ceed, and  in  1883  C.  J.  Whitney,  a  prominent  music  dealer,  and 
E.  S,  Votey,  a  practical  organ  maker,  bought  the  business  and  in- 
corporated the  Whitney  Organ  Company.  In  the  same  year  W.  R. 
Farrand  joined  the  corporation,  assuming  the  financial  manage- 
ment, the  manufacturing  being  in  charge  of  Votey.  In  1887  Whit- 
ney retired  and  the  name  was  changed  to  the  Farrand  &  Votey 
Company.  Ambitious  to  extend  its  business,  the  company  com- 
menced to  manufacture  church  organs  in  1888.  Consummating 
an  advantageous  deal  for  all  the  patents  of  the  renowned  organ 
builder,  Frank  Roosevelt  of  New  York,  the  company  was  in  a 
position  to  build  most  excellent  instruments,  and  scored  a  decided 
success  at  the  Chicago  Exposition  of  1893,  where  Guilmant  and 


372 


PIANOS  AND  TTTFJR  ^FAKERS 


C'lni'onoo  Kddy  ,i>'avo  memo- 
i;il)le  concerts  upon  the  ini- 
iiK'iisc  pipe  organ  erected  by 
the  b'anaiid  c^'  A^)t('y  I'oni- 
pany. 

K.  S.  Votey  di.si)layed  liis 
ingenuity  as  an  inventor  by 
dcN'ising  many  iin])rove- 
nients  in  churcli-organ  niccli- 
anism,  and  more  especially 
in  iiis  work  on  piano  i)layers. 
IJc  liad  sucli  implicit  faith 
in  the  ruturc  of  tlic  piano 
l)layer  tliat  he  joined  the 
Aeolian  (V)mi)any  in  18D7, 
buying-  the  pipe-organ  and 
player-i)iano  departments  of 
the  Farrand  &  Votey  Company,  and  building  his  first  thousand  of 
i*ianolas  in  llie  Detroit  shoi)s.  The  company's  name  was  now 
changed  to  "  The  Farrand  Company,"  and  special  attention  was 
given  to  its  own  creation,  the  Cecilian  player  i)iano,  an  instrument 
of  mei'it  and  high  ([uality.  The  company  has  also  put  upon  the 
market  a  metallic  piano-i)layer  action. 

An  expert  iced-organ  builder,  Isaac  T.  Tackaid  interested  a 
innn])er  of  capitalists  to  start  an  organ  factory  at  Fort  Wayne, 
hid.,  in  ls71.  Packard  was  a  fine  meclianic  and  inveiitoi',  produc- 
ing an  instrnment  of  superior  (piality.  Fnder  the  conservative 
guidance  of  S.  !*>.  l)ond,  as  president  of  the  company,  steady 
])rogress  was  ma<le,  the  eoncei-n  depending  more  upon  the 
su))erior  (piality  of  its  product  than  upon  the  ordinary  business 
inoi^aganda. 


J.  R.  Allison 


MEN  WHO  HAVE  MADE  PIANO  HISTORY 


373 


S.  B.  Bond,  born  at  Lock- 
port,  N.  Y.,  October  17,  1833, 
came  with  his  father's  family 
as  pioneers  to  Fort  Wayne 
in  1842.  At  tlie  age  of  13 
young  Bond  went  to  work 
as  porter  and  assistant  clerk 
for  the  State  Bank  of  In- 
diana, which  at  that  time  was 
under  the  management  of 
Hugh  McCulloch,  who  later 
on  acquired  fame  as  Lin- 
coln's Secretary  of  the 
Treasury.  In  1874  Bond 
was  elected  president  of  the 
Fort  Wayne  National  Bank. 
He  remained  in  the  presiden- 
tial   chair    until    December, 

1904,  when  he  resigned  in  order  to  devote  his  whole  time  to  the 
growing  business  of  the  Packard  Company. 

Although  identified  with  banking  from  boyhood,  Bond  was  in 
love  with  the  inspiring  atmosphere  of  the  organ  and  |)iano  fac- 
tory, which  he  always  preferred  to  the  cold  walls  of  the  bank- 
ing house,  though  he  made  his  mark  in  both.  He  died  July  20, 
1907. 

His  son,  Albert  S.  Bond,  entered  the  service  of  the  Packard 
Company  as  an  apprentice  at  the  age  of  16,  in  1879.  After  tive 
years'  experience  on  the  bench,  young  Albert  spent  two  years 
traveling  as  salesman  for  the  Company  and  was  elected  general 
manager  in  1886.  Under  the  guidance  of  his  father  he  soon  ex- 
panded the  business.  Well  educated,  with  distinct  artistic  inclina- 
tions and  full  of  progressive  enthusiasm,  he  added  the  manufacture 


PTAXO?^  AXI)  THEIR  MAKERS 


oi'  pianos  ill  1893.  ^[ain- 
tainiii.i;'  the  liigli  standard  of 
the  Rackard  name,  tlic  ])i- 
aiios  were  readily  accepted 
by  the  trade  as  liigli-class  in- 
strninents,  and  since  tlie  suc- 
cessful introduction  of  the 
Packard  Player  J*iano  the 
business  of  the  corporation 
has  assumed  commandin,i»: 
])ro]iortions.  The  Packard 
pi-oducts  are  valued  for 
musical  quality  of  tone  and 
most  exquisite  workmanship 
in  all  details. 

Another  concern  which 
has  strongly  assisted  in 
establishing    the    reputation 

for  the  highest  quality  of  western-made  pianos  is  the  A. 
B.  Chase  Company  of  Norwalk,  Ohio.  Starting  in  1875  to 
manufacture  organs,  it  began  the  making  of  pianos  in  ISS,"). 
A.  J).  L'hasc  died  in  1877,  when  Calvin  AVhitney  assumed  the  man- 
agement. AVliitncy  was  a  strong  character,  who  impressed  his 
l)ers()nality  indelibly  npon  the  ent('ri)rise.  Born  at  Townsend,  Ohio, 
on  September  25,  1846,  he  started  1  in  business  at  the  age  of  19 
with  a  cajtital  of  $400,  which  he  had  saved  from  his  earnings  as  a 
store  clerk.  A  man  of  lofty  ideals,  he  aimed  in  whatever  he  under- 
took for  tlic  highest  and  purest.  AVitli  unfaltering  faith  he  con- 
quered all  the  difficulties  which  the  western  pioneer  manufacturers 
1iad  to  encounter  and  had  the  satisfaction  of  seeing  his  com]^any 
rank  in  the  lead  of  high-class  piano  manufacturers.    He  was  among 


Cal\in  WliiliK'V 


MEX  WHO  HAVE  MADE  PIANO  HISTORY 


375 


the  first  to  take  up  the  player 
piano  earnestly,  and  in  1905 
produced  the  Aristano  grand 
])layer  jiiano.  Whitney  died 
on  June  6,  1909,  having  lived 
a  strenuous  but  very  useful 
life.  L.  L.  Doud  has  served 
the  company  as  secretary 
since  its  start  in  1875,  and 
still  fills  his  position  with 
zeal  and  ability.  W.  C. 
Whitney,  son  of  Calvin,  edu- 
cated in  the  factory  and  office 
of  the  Chase  Company,  is 
preparing  himself  for  great- 
er work  in  the  future,  acting 
at  present  as  vice-president 
of  the  company. 

Among  the  pioneers  of  the  music  trade  in  the  west,  Hampton 
L.  Story's  name  stands  foremost.  Born  at  Cambridge,  Vt.,  June 
17,  1835,  he  showed  an  inborn  talent  for  music,  and  his  first  em- 
ployment was  in  a  music  store  at  Burlington,  Vt.,  at  the  princely 
salary  of  $50  per  month  and  board.  Having  saved  a  small  capital 
from  his  wages  as  schoolteacher,  he  bought  out  his  principal  in 
1859.  Not  satisfied  to  be  merely  a  dealer,  he  joined  a  piano  maker 
by  name  of  Powers,  manufacturing  the  Story  &  Powers  piano  in 
1862.  This  was  perhaps  the  first  piano  factory  in  the  State  of 
Vermont. 

The  business  prospered,  but  the  field  was  too  limited  for  enter- 
prising Story,  and  when  in  1867  Jacob  Estey  otTered  him  the 
agency  for  the  Estey  organs,  in  the  western  states.  Story  closed  out 


376 


TMAXOS  AXI)  TIIi:iK*   MAKKRS 


!•:.  11.  stuiv 


his  business  at  J^urliiigton 
nnrl  ostal)lisli('(l  liimsclf  at 
("liicaiAO.  Ill  1S()S  lie  ad- 
mitted Isaac  X.  ('amp  as 
partner.  The  lii'm  of  Story 
cV:  (^aiii])  soon  liecanie  one  of 
the  leaders  in  the  piano  and 
oi'oaii  1 1  a<le  of  the  west,  hav- 
ing- stores  at  (Miieaj^^o  and  St. 
Lonis,  controlling  a  large 
wholesale  and  retail  trade 
tlirongh  the  entire  west. 

With  his  oliaracteristic 
keenness  and  foresight,  Story 
observed  that  the  west  wonhl 
eventually  nianufaeture  its 
own     musical     instruments, 


and  he  therefore  retired  from  the  firm  of  Story  c^'  Camp  and 
ill  1SS4,  with  :\lelville  Clark  and  his  son,  Edward  H.  Story, 
founded  the  linii  of  Story  cV:  Clark,  for  the  manufactnre  of  reed 
organs. 

.McKille  ('lark  was  known  as  an  expert  reed-organ  builder,  who 
had  jiateiiteil  maii\  improvements.  The  business  was  successful 
from  llic  start,  and  in  1<SS8  the  Story  &  Clark  Organ  Company  was 
incorporated,  with  E.  II.  Story,  son  of  the  founder,  as  president,  and 
Melville  ('lark,  vice-])resident.  The  foreign  trade  grew  so  rapidly 
that  a  factoiN-  was  erected  at  London,  England,  in  1892,  under  the 
management  of  ('harles  11.  Wagener,  and  another  in  1893  at  Berlin, 
( leiiiianx'. 

The  organs  designed  and  made  under  the  supervision  of  Mel- 
ville Clark  were  of  the  highest  order  in  quality  and  tone,  and,  when 


MEN  AVIIO  HAVE  :\[xVI)E  PIAXO  HISTORY 


377 


ill  1895  the  making-  of  pianos 
was  commonced,  the  same 
high  standard  was  main- 
tained. AlelviUc  (Mark  sev- 
ered his  connection  with  the 
company  in  1900,  to  start  the 
Melville  dark  C'ompany, 
and  the  management  has 
since  been  in  the  hands  of  ^ 
Edward  H.  Story.  The  de- 
mand for  i)ianos  increased 
at  such  a  rate  that  the  erec- 
tion of  Larger  factories  be- 
came necessary,  and  in  1901 
the  company  erected  its 
model  plants  at  Grand 
Haven,  Mich.  Counted 
among  the  largest  producers 

of  high-grade  pianos,  the  company  is  its  own  distributor,  con- 
trolling a  chain  of  warerooms  in  the  principal  cities  of  the  United 
States. 

Melville  Clark's  name  will  forever  be  printed  upon  the  pages 
of  the  organ  and  piano  industry  as  one  of  the  most  prolific  in- 
ventors. Born  in  Oneida  County,  New  York,  he  inherited  a  love 
for  music  and  became  an  enthusiastic  student.  Desirous  to  learn 
all  about  the  construction  of  pianos  and  organs,  he  served  an 
apprenticeship  as  a  tuner  and  took  to  traveling.  Landing  finally 
in  California,  he  started  a  factory  for  the  production  of  high-grade 
organs.  The  enterprise  was  a  success,  but  the  market  for  the 
product  was  limited,  and  in  1877  he  sold  out  his  interest.  After 
a  short  stay  in  Quincy,  111.,  we  find  him  in  1880  at  Chicago  making- 
organs  under  the  firm  name  of  Clark  &  Rich. 


Melville  Clark 


378  m.WOS  AND  TIIKIIJ   MAKERS 

ill  IS^i-t  lie  Jo'iikmI  II.  L.  Sloiy  luidcr  the  Hriii  name  of  Story  & 
(Mark,  ncsiious  df  dcNotiiiii  hiiiix'ir  entirely  to  the  developineiit 
of  the  ))iaii()-iila\ CI-  iiiecjianism,  Clark  severed  his  eoniieetioii  \Yitli 
the  St(>i>  i.V  ('lark  riaiio  and  ( )^,^all  ( 'oiiipaii\-  in  IIHH),  after  16 
years  of  zealous  aelixity,  ami  staite(l  the  .Melville  Clai-k  Piano 
('om]>any  with  a  capital  of  ^.lOIMlOO,  erectin,<»-  modern  factory 
bnildini^s  at  I  )e  Kalh,  III.  The  patent  records  tell  the  story  of 
(laik's  activity  and  success  in  bis  efforts  in  that  direction.  Clark 
pidduced  his  first  88-note  cabinet  ])layer  in  . January,  1!)()1,  and  bis 
88-note  interior  ))layer  ])iaiio  in  1*.)()2,  while  his  first  grand  player 
piano  was  completed  in  1904.  lie  bad  the  satisfaction  of  seeing 
his  self-playing  grand  })iano  used  in  a  ])nblic  concert  at  New 
Orleans  in  December,  15)l)(),  under  the  auspices  of  L.  Grunewald  & 
Comi)any.  Among  the  many  imi)rovements  in  i)layer  mechanism 
for  which  Clark  obtained  patents  may  be  mentioned  the  a})))li- 
cation  of  the  downward  touch  of  the  key  and  his  transposing 
device,  the  latter  having  been  adopted  by  other  player-piano 
makers  under  Clark's  patent. 

The  career  of  Frederick  Engelhai-dt,  senior  ])artner  of  Engel- 
hardt  ^:  Sons,  is  interesting.  Born  in  Germany,  he  came  with  his 
Ijarents  to  New  A^ork  at  the  age  of  10.  Having  gone  through  the 
public  school,  he  was  apprenticed  to  a  cabinetmaker.  After  serv- 
ing his  apprenticeship,  desirous  of  seeing  something  of  the  life 
of  the  "  Wild  West,"  he  enlisted  as  a  cavalryman  in  the  United 
States  Ai-my,  and  took  pai't  in  many  of  the  early  battles  with 
Indians  on  the  far-western  plains,  narrowly  escaping  the  massacre 
of  Custer's  force  by  Sitting  Bull.  After  his  discharge  from  the 
aini\-  he  entei-ed  the  em|)loy  of  the  author,  and  was  soon  advanced 
to  tlu'  position  of  sui)erintendent  of  the  soundboard  dejiai'tment 
at  the  Dolgeville,  N.  Y.,  factories.  He  designed  and  executed  the 
exhibit  of  that  department  for  the  Paris  exhibition  of  1879,  for 
which  the  highest  award  was  granted  by  the  jury. 


MEN  WHO  HAVE  MADE  PIANO  HISTORY  379 


QY^n^^.tA.d^  c£Ae^e>^ 


Ambitious  to  be  more 
than  a  mere  soundboard 
maker,  En^a^elliardt  souglit  a 
l)osition  in  a  })iano-action 
factory.  He  finally  found 
employment  with  Steiuway 
&  Sons,  where  for  seven 
years  he  had  charge  of  the 
action  de])artment  as  fore- 
man. In  January,  1889,  he 
formed  a  partnership  with 
A.  P.  Roth,  who  had  acquired 
a  thorough  business  training 
in  the  author's  store  and 
general  offices  in  New  York, 
and  the  firm  of  Roth  &  En- 
gelhardt  began  business  as 
makers  of  piano  actions.  In 
1898  the  firm  placed  their  first  player  piano  on  the  market.  It  was 
known  as  the  ''  Peerless  "  self-playing  piano.  This  was  soon 
followed  by  the  "  Harmonist  "  player  piano,  and  later  on 
by  the  coin-operated  automatic  player  piano  with  endless  tune 
sheet. 

A.  P.  Roth  retired  from  the  firm  on  January  1, 1908,  and  Engel- 
hardt  admitted  his  sons,  Alfred  D.  and  Walter  L.,  to  partnership 
under  the  firm  name  of  F.  Engelhardt  &  Sons.  Still  in  the  prime 
of  life,  Engelhardt  has  seen  his  enterprise  grow  from  the  smallest 
beginning  to  one  of  the  largest  establishments  of  its  kind,  with 
the  prospect  that  its  future  is  guaranteed  by  the  activity  of  his 
sons. 

Another  firm  which  graduated  from  the  Steinway  school  is 
"Wessell,  Nickel  k  Gross,  action  makers.     Otto  AVessell,  born  in 


380 


I'lAXoS  AM)  TTIEIR  MAKEIJS 


IloUtciii.  (I  en  nan  y,  in  lS4r)^ 
came  iu  Aiiu'rica  with  his 
]>ai-P7its  ill  1847.  (ii'adnnt- 
iii_i>-  I'loin  the  New  York  i)ub- 
lic  sciiool,  Ik'  was  appren- 
ticed to  a  cabinetmaker,  and 
improved  upon  that  by 
learning  the  piano  trade 
afterward.  Wiiile  in  the 
emi)Ioyment  of  Stein  way  & 
Sons  lie  atlvanced  to  a  i)osi- 
tion  of  trust  and  res])onsi- 
bility.  In  1875  lie  started  in 
business,  forming  a  partner- 
sliij)  with  his  colleagues, 
Nickel  and  Gross,  wlio  were 
also  employed  as  action 
makers  liy  Steinway  &  Sons. 
Because  of  their  i)ractical  experience  in  producing  the  high- 
est class  of  work,  the  business  was  a  success  from  the  start  and 
the  linn  has  ever  since  maintained  the  leading  position  for 
('uahtv. 

Otto  AVessell  was  a  self-made  man.  AVith  few  o])])ortunities  in 
his  yonlh,  he  achieved  his  prominent  position  in  the  business  world 
by  force  of  character,  unimpeachable  integrity  and  that  peculiar 
}ioblcssc  and    lilM'iali1\    which    is   iisnallv  ac(iuired   onlv  bv  those 

•  *  1  ■  « 

■who  ha\('  to  commence  at  the  bottom  rung  of  the  ladder.  The 
writer  often  met  Otto  Wessell,  in  his  early  days,  at  ]nano  fac- 
tories loaded  with  two  upright  actions,  which  he  had  carried  from 
his  shop,  ])ailly  to  save  the  expense  of  hiring  an  expressman,  but 
also  to  see  whether  his  customer  w^as  satisfied,  and  a  broad  smile 


otto    WfSSfll 


MEN  WHO  HAVE  MADE  IMAXO  inS'l'OIJV 


381 


would  run  over  his  genial 
face  when  the  actions 
were  accepted  without 
criticism. 

From  those  small  begin- 
nings Wessell  saw  his  firm 
rise    to    prominence    second 
to  none  in  America,  employ-    p 
ing    over    500    hands     and 
counting  among  his  custom- 
ers the  foremost  makers  of 
high-class  pianos.    An  inde- 
fatigable   worker,    Wessell, 
like  others  of  his  kind,  drew    P^^ 
too     rapidly     on     nature's 
bounty  and  passed  away  on 
May  25,  1899,  at  the  age  of 
54.      The    business    is    con- 
tinued by  his  partner,  Adam  Nickel,  with  Henry  Nickel,  Jr.,  and 
Arthur  and  Fernando  Wessell,   sons  of  the   founder,   as  junior 
partners. 

Among  the  old-time  hammer  coverers,  John  Frederick  Schmidt 
stood  in  the  front  rank  during  the  period  of  his  activity.  Born 
at  Marburg,  Germany,  in  1823,  he  learned  the  trade  of  cabinet- 
making.  He  went  in  partnership  with  Peter  De  AVitt  Lydecker  in 
1864,  succeeding  Ole  Syverson,  who  had  founded  the  business  in 
1856.  In  1877  Lydecker  retired,  and  Schmidt  continued  until 
1886,  when  ill  health  compelled  him  to  seek  the  quietude  of  private 
life.  His  firm  has  ever  enjoyed  an  enviable  reputation  for  ex- 
cellent workmanship  in  hammer  making.  He  died  on  September 
26,  1906.  His  son,  David  H.  Schmidt,  is  carrying  on  the  business 
as  a  corporation  with  marked  ability  and  success. 


John   Frederick  Schinidt 


Oct— 


riAXOS  AXI)  TIIKIIJ  MAKKRS 


Charles  Pfriemer  is  an- 
otlier  Slc'mway  i^radiiate 
wlio  made  Ills  niai-k. 

Born  in  184l'.  under  tlic 
shadow  (if  the  romantic  old 
castle  ilohenzollern,  where 
the  forefatliers  of  the  Em- 
peror of  (lermany  dwelt, 
Pfriemer  performed  his  duty 
as  a  soldier  during  the  Aus- 
tro-Prussian  War  and  came 
to  America  in  the  latter  part 
of  186C.  - 

A  cabinetmaker  bv  trade, 
I      he  learned  hammer  making 

'  — — '      in  Steinway's  shop,  and  later 

Charles  Pfriemer  on   assumed   charge    of   the 

hammer  department  in  Albert  Weber's  factory.  In  1874  he  started 
in  business  on  his  own  account,  and  was  among  the  first  to  use 
iron  hammer-covering  machines.  Achieving  an  enviable  reputation 
\'(>v  making  a  peculiarly  pear-shaped  hammer,  Pfriemer  built  up  a 
large  and  lucrative  business.  He  died  in  1908.  The  business  is 
carried  on  bv  his  two  sons. 


PART  FOUR 

Influence  of  Piano  Virtuosos  upon  the  Industry 

CHAPTER  I 

Bach,  Mozart,  Chopin,  Liszt,  Rubinstein,  Biilow,  Joseffy,  Rosen- 
thal, Carreno,  de  Pachmann,  Busoni,  Paderewski,  Hofmann. 


PART    FOUR 


CHAPTER  I 


INFLUENCE  OF  PIANO  VIRTUOSOS  UPON  THE 

INDUSTRY 


TTTE  great  virtuosos 
and  teachers  of  the 
piano  have  ever  been 
vahiable  helpmates  of  the  pi- 
ano maker.  He  receives  his 
inspirations  from  their  play- 
ing on  the  one  hand,  and  is 
continually  spurred  to  great- 
er efforts  by  their  never- 
ceasing  demands  for  a  per- 
fect action,  greater  and 
purer  tone. 

In  contrast  to  the  violin, 
which  was  almost  perfect 
from  its  first  appearance, 
the     piano     required     more 

than    200    years    for    develop-  Johann  Sebastian  Bach 

ment,  and  the  last  word  has  not  yet  been  said.    Handel,  Haydn, 
and    even    Mozart,    with    their    sweet,    heavenly    music,    could 

385 


386 


PFAXOS  AXD  TIIKIIJ  ^[AKERS 


be  satislicd  with  the  clavi- 
clioi'd  ;iii<l  harpsichord.  In 
their  (h'i\s  iini^ic  was  tlie  en- 
tertainiueiit  ul'  the  privileged 
liigher  classes,  who  assem- 
bled in  salons  to  pla>'  cham- 
ber music  of  a  ph'asing  and 
enciianting,  but  not  soul- 
stirring,  character.  Johann 
Sebastian  Bach,  that  titan  of 
the  organ,  felt  the  need  of 
something  stronger,  more 
positive  and  i)owerful  than 
the  clavichord,  and  it  was  he 
who  aroused  Silbermann  to 
greater  efforts  in  piano 
building,  when  he  con- 
deiiiiie(l  his  first  ])ianos  in  unmeasured  terms. 

Bach  I  mist  ha\e  had  a  divine  insj^iration  as  to  the  ultimate 
dev('h)piiient  of  the  ])iano  when  he  wi'ote  his  immortal  composi- 
tions for  that   instrument,  which  was  then  in  its  infancy.     It  is 

7  V 

questionable  wliether  Silbermann,  the  organ  builder,  would  have 
strix'eii  to  improve  his  ]»iano  l)ut  for  J^ach's  criticism,  which  luirt 
the  feelings  of  the  pi'oud  and  sensitive  artisan  and  made  him  re- 
solve to  const  I'uct  a  piano  which  would  compel  Bach's  favorable 
comment  and  ai)proval.  And  it  was  the  great  cantor  of  the  Thomas 
School  of  Lei])sic  who  gave  the  first  testimonial  to  a  ]iiano  maker, 
when  he  played  ui)on  and  i)raised  the  impi'oved  Sill)ermami  ])ianos 
at  the  New  Palace  at  Potsdam  in  the  i)resence  of  Frederick  the 
Great. 


Wolfgang  Amadeus  Mozart 


"3 
1-^ 


3 

a 


n 


INFLUENCE  OF  VIRTUOSOS 


387 


Bach's  son,  Joliann 
Christian  Baeli,  did  not 
hesitate  to  serve  as  demon- 
strator of  the  piano,  with 
the  avowed  purpose  of  mak- 
ing propaganda  for  tlie  pi- 
ano as  a  mnsieal  instrument. 
He  went  to  London,  tak- 
ing several  German  pianos 
along,  and  there  gave  a  num- 
ber of  i)iano  recitals.  His 
first  concert  in  June,  1763, 
was  a  revelation  to  the  music 
lovers  of  London.  Never  be- 
fore had  they  listened  to 
such  brilliant  playing,  nor 
had  they  heard  such  tones, 
so  much  more  forceful  than 

the  clavichord  and  equally  more  musical  than  the  harpsichord  tone. 
Bach  aroused  the  London  harpsichord  makers  to  the  study  of  the 
new  instrument. 

Then  came  young  Wolfgang  Amadeus  Mozart,  who  discarded 
the  clavichord  and  was  most  happy  to  discover  at  Augsburg  the 
Stein  piano  with  an  action  which  "  did  not  block."  He  wrote  to 
his  mother  an  enthusiastic  testimonial  for  the  Stein  piano,  praising 
Stein  as  an  artisan  who  did  not  build  })ianos  to  make  money,  but 
for  the  love  of  his  art.  Stein  always  tried  to  meet  Mozart's  de- 
mands, and  finally  presented  to  Beethoven  a  grand  piano  of  six 
octaves  and  for  years  it  served  the  master  for  his  composing. 
But  Beethoven  wanted  still  more.  Six  octaves  were  too  small  a 
compass  for  the  symphonic  tone  pictures  which  raved  in  his  soul, 


Ludwig  von  Beethoven 


388 


IMAXUS  AND  TilELli  MAKERS 


and  liis  admiring  friend 
Xannctto  Stoin-Strciclier, 
liad  to  build  \'(n-  liliii  a  six 
and  one-liair  <»clave  grand 
piano. 

We  of  the  present  day, 
used  to  iron-frame  eonstrue- 
tion,  tlie  aid  of  maeliinery, 
etc.,  can  scarcely  conceive 
what  difficulties  that  ingen- 
ious woman  ])iano  builder  en- 
countered when  she  atteni])t- 
ed  to  meet  JU'ethoven's  de- 
sire for  extended  compass 
and  greater  tone,  but  she  suc- 
ceeded, and  Beethoven  wrote 
many  letters  to  her,  every 
one  of  them  a  grand  testi- 
monial for  the  XTannette  Stein-Streicher  ])iano. 

T.ike  Bacli,  IJcethoven  was  ])owerful,  titanic.  He  admired  the 
strong,  liie  mighty,  the  forcel'iiK  and  when  John  Broadwood  sent 
liim  one  of  his  improved  grand  i)ianos  from  far-away  London, 
Beethoven,  in  spite  of  his  sincere  friendship  for  Nannette,  wrote 
to  Eondon  regarding  the  ])iano,  "  I  shall  regard  it  as  an  altar 
upon  wiricli  1  sliall  place  the  most  beautiful  offerings  of  my  spirit 
to  the  divine  Apollo." 

('liopin,  lliat  most  ])oetic  of  all  composers,  and,  in  his  day, 
boldest  of  all  iicit'oi  incis,  allowed  his  admiration  for  the  Pleyel 
l)iano  and  his  ])ersoiial  liiendship  for  the  maker  to  control  him 
to  such  an  extent  that  he  wouhl  not  play  on  any  other  piano  if 
he  could   ol)tain  a    IMevel. 


Frederic  Chopin 


a) 
O 

a> 


73 

"3 


73 

3 


-3 

3 
O 


INFLUENCE  OF  VIRTUOSOS 


389 


Franz  Liszt  in  his  early 
days  was  a  "  holy  terror  " 
for  piano  mannfactnrers. 
His  colossal  techniijiie  and 
powerful  stroke  demanded 
an  action  of  superlative  con- 
struction and  workman sliip. 
It  is  said  that  at  his  first  con- 
cert at  the  Leipsic  Gewand- 
haus  in  1840,  being  in  an  ugly 
mood  because  he  could  not 
have  his  favorite  French  pi- 
ano to  play  upon,  he  smashed 
a  number  of  hammers  off  the 
action  with  his  very  first 
chords,  so  that  another  piano 
had  to  be  i)rovided. 

Perhaps  no  other  virtu- 
oso has  forced  the  piano  makers  so  persistently  to  never- 
ceasing  efforts  to  improve  the  strength  and  pliability  of  the 
action  as  Liszt,  who  almost  invariably  required  two  grand 
pianos  for  an  evening  concert.  His  forceful  touch  and 
rapid  execution,  after  one  hour's  playing,  would  put  most  of  the 
pianos  made  in  that  early  period  out  of  tune,  hence  we  can  under- 
stand later  on,  when  the  iron-frame  construction  and  the  mod- 
ern action  came  into  universal  use,  why  Liszt  did  not  spare  his 
approving  testimonials  for  the  creations  of  Steinway,  Bosendorfer, 
Ibacli  and  others.  All  of  the  master  builders  aimed  to  con- 
struct grand  pianos  which  would  meet  the  taxing  demands  of 
Liszt  so  that  they  could  obtain  his  testimonial,  the  highest  possible 
indorsement  of  piano  quality. 


Franz  Liszt 


390 


PIANOS  AND  'niVAli  MAKERS 


Next  to  Liszt,  Anton  \lu- 
binstt'iii  will  })c'i'lia[).s  be 
recorded  ns  the  u'rcatest  ])i- 
aiio  \irtiioso — Uuhinstein's 
ai't  developed  with  the  jiiaiio. 
hi  1S4(),  as  a  hoy  of  K),  lie 
playefl  on  the  delicate  pianos 
then  made  in  Paris,  hut 
later  on  Becker  as  well  as 
Schi'()der,  of  St.  IN'terslmi'g, 
huilt  for  liiiii  inodei'ii  i>rand 
l)ianos,  i)layin,i;-  which  lie 
i  could  allow  his  renins  fi'ee 
I'eiii,  fearless  of  eouse- 
(]nences  to  the  piano. 

AVhoever  lias  heai'd  liu- 
binstein,  while  he  was  in  his 
])i-inie,  knows  that  he  sur- 
passed even  TJszt  in  forceful  attacks  on  the  i)iano,  and,  next  to 
Liszt,  Wnhinstein  has  made  greater  propaganda  for  the  piano  than 
an}-  other  \iituoso.  Jlis  testimonials  were  sought  for,  and  he 
gave  them  freely  and  willingly  to  the  many  makers  of  meritorious 
grand  pianos. 

That  scliol;irly  genius,  TTans  von  Biilow,  was  liard  to  i)lease  in 
his  choice  ol'  pianos.  Not  of  that  storming  temperament  of  a 
T.iszt  or  liuhinstein,  Biilow  rather  discouraged  great  volume  of 
tone,  demanding  a  sensuous  mellowness,  which  he  could  at  will,  if 
necessar>-,  laise  to  thundering  chords  hy  that  wondei-ful  control 
which  he  had  over  his  techni(|ue.  IIow  adverse  Biilow  was  to  being 
conside]-ed  a  demonstrator  of  ])iano  quality  is  illustrated  by  an 
incident   which   happened   on   his  American  journey  in  1875   and 


Anton  Rubinstein 


--frSS^^WPW'' 


Steinway  Hull,  New  York 


o 

01 

W 

SB 


.£1 


.1 '!.. ,.;.!'  '"■■  ■■"'■.! 


INFLUENCE  OF  VIRTUOSOS 


391 


1876.  As  is  the  custom  in 
all  American  concerts,  a 
large  sign,  bearing  the  name 
of  the  maker  of  the  piano, 
was  placed  on  the  side  of  the 
piano  toward  the  audience. 
When  Billow  came  out  on  the 
platform  he  noticed  the 
sign,  and,  in  a  rage,  tore  it 
from  the  jnano,  threw  it 
onto  the  floor  and,  tramp- 
ing upon  it,  cried  loudly  to 
the  audience,  ''  I  am  not  an 
advertising  agent,"  after 
which  he  sat  down  and 
played  as  inspiringly  as 
ever,  and  finally  gave  the 
piano  maker  a  strong  testimonial,  praising  the  superior  qualities 
of  the  piano. 

Who  has  not  listened  to  Kafael  Joseffy's  wonderful  pianissimo 
passages  and  wondered  how  the  same  piano  upon  which  Liszt  and 
Eubinstein  had  thundered  could  sing  like  music  from  heavenly 
spheres  under  Joseffy's  wonderful  touch.  To  satisfy  Josetfy's 
demands  for  elasticity  of  touch  and  pure  tone  quality  is  a  master's 
task,  yet  we  find  that  a  great  many  piano  builders  proudly  point  to 
Joseffy's  indorsement. 

Josef  Hofmann,  who  astonished  the  world  as  a  "  wonder  child  " 
and  now,  in  his  manhood,  is  considered  the  reincarnation  of  Liszt 
and  Eubinstein  combined,  is  not  only  a  great  pianist  and  musician 
but  also  a  genius  as  a  mechanician,  capable  of  appreciating  the  dif- 
ficulties confronting  the  piano  maker  in  his  efforts  to  satisfy  the 
virtuoso's  demands,  and  therefore  does  not  hesitate  to  express  his 


Hans  von  Biilow 


392 


PIANOS  AND  TllElK  MAKERS 


satisfaction   with    the  piano 
lie  plays  npon. 

Aloriz  iiosciitlial  is  an- 
otlicr  of  tlie  virtuosos  who 
demands  ninch  of  the  ])iano 
maker.  Sensitive  to  an  ex- 
1  laordinary  degree,  Kosen- 
tlial  insists  upon  an  evenness 
of  scale,  singing  ciuality,  but 
also  })owerful  tone,  in  order 
to  exhibit  liis  masterly  con- 
trol of  phrasing,  which 
makes  his  rendering  of 
Liszt's  Don  Juan  para- 
phrase so  captivating. 

And  what  of  the  dream- 
ing Paderewski,  the  lyric 
de  Pachmann,  the  versatile 
Busoni,  or  ca])tivating  Carreno  ?  Do  they  not  call  for  ex- 
traordinary display  of  genius  on  the  part  of  the  piano  makers, 
and  are  our  present-day  master  builders  not  equal  to  their 
demands?  The  many  testimonials,  clothed  in  phraseology 
which  does  not  ])ei-mit  of  doubt  or  misinterpretation,  prove  that 
they  do  satisfy  all  the  demands  made  upon  them,  and  thus 
the  influence  of  these  exacting  virtuosos  becomes  of  immeas- 
urable benefit  to  the  industry  of  the  day,  as  it  has  been  from  the 
beginning. 

Many  virtuosos,  like  Clementi,  Cramer,  Kalkbrenner,  Pleyel, 
Herz  and  others,  took  such  intense  interest  in  the  development  of 
the  ])iano  that  they  invested  their  money  earned  on  the  concert 
platform  in  piano  factories  and  took  an  active  part,  trying  to 
construct  such  instruments  as  they  desired  for  their  art.     Many 


Rafael  Joseffy 


INFLUENCE  OF  VIRTUOSOS 


393 


an  improvement  can  be 
traced  to  these  virtuoso- 
piano  makers,  notably  the 
Herz-Erard  grand  piano 
action. 

The  erection  of  concert 
halls  by  piano  manufactur- 
ers is  entirely  due  to  the  in- 
fluence of  the  virtuosos. 
Very  few  cities  had  concert 
halls  possessing  the  neces- 
sary acoustic  qualifications 
for  piano  recitals,  conse- 
quently Broadwood  built  his 
recital  hall  in  London;  at 
Paris  the  Salles  Erard, 
Pleyel  and  Herz  appeared; 
in     New     York,     Steinway, 

Chickering  and  Steck  halls  w^ere  erected;  Vienna  has  its  Saal 
Bosendorfer  and  the  Saal  Ehrbar,  and  in  Berlin  we  find  the  Saal 
Bliithner — all  of  them  built  for  the  purpose  of  permitting  the 
player's  virtuosity  and  the  piano's  tonal  qualities  to  be  heard  under 
most  favorable  conditions. 


Moriz  Rosenthal 


PART  FOUR 

CHAPTER  II 

Value  of  Testimonials 


PART   FOUR 


CHAPTER  II 


VALUE  OF  TESTIMONIALS 


THE  impression  pre- 
vails, more  or  less, 
that  testimonials  of 
artists  are  bought  by  the  pi- 
ano manufacturers,  a  misap- 
l)reliension  equally  unjust  to 
the  artist  and  the  piano 
maker.  No  virtuoso  who  is 
accepted  by  the  music-loving 
public  as  an  artist  will  give 
a  testimonial  praising  the 
quality  of  any  piano  un- 
less he  has  thoroughly 
satisfied  himself  by  a  se- 
vere test  that  it  meets 
his  most  exacting  require- 
ments. 

When  Franz  Liszt,  who 
admired  the  Erard,  wrote  to  Bosendorfer,  '^  The  perfection  of 
your  grand  piano    surpasses  my  most   idealistic   expectations," 

397 


De  Pachmaiin 


398 


PIANOS  AND  THEIR  ^lAKEKS 


and  UiL'U  wrote  to  Steinway, 
"  Yoiiv  o-raiid  piano  is  a 
ii'loi'ious  masterpiece  in 
power,  sonority,  singing 
(liialil\-  and  })erfect  liar- 
nionic  effects,"  lie  used  for- 
cible language  to  express  his 
conviction. 

Rubinstein  is  on  record 
for  nnstinted  praise  of  the 
Ehrbar,  Plevel,  Bliithner  and 
many  other  ]nanos.  After 
using-  the  Steinway  in  215 
consecutive  concerts  "  with 
eminent  satisfaction  and  ef- 
fect," he  so  stated.  Rafael 
Josetfy  used  the  Bosendor- 
fer,  iJiiilliner,  Erard  and  flickering  pianos  and  expressed  his  ad- 
miration for  all  of  them  because  they  merited  such,  and  now  i>lays 
the  Steinway.  De  Pachmann  dreams  his  Chopin  interpretations 
upon  all  celebrated  pianos  and  goes  into  ecstasies  over  the  Bald- 
win. Exacting  Biilow,  averse  to  anything  smacking  of  advertising, 
gave  tone  and  cliaracter  to  the  oiiening  of  the  Saal  Bosendorfer  at 
Viemia  and  of  ( 'bickering  Hall  in  New  York,  but  did  not  overlook 
the  merits  of  the  Irmler  nor  the  Broadwood  and  many  others. 
Teresa  Carreno  finds  great  x>leasui-e  in  playing  the  Bliithner, 
Schiedmayer,  AVeber  and  Steinway,  and  in<lorses  the  Everett  as 
*'  a  distinct  achievement  in  j)iano  construction."  Ossip  (jlabrilo- 
witseh  admires  Becker,  lauds  the  power  and  brilliancy  of  the  Ever- 
ett and  praises  "  the  x>henomenal  cai-rying  and  singing  quality  " 
of  the  Mason  &  Hamlin.    Moriz  Rosenthal  is  ''  enchanted  "  with 


Teresa  Carreno 


^. 


:3 

Oh 


o 

y 
CO 


VALUE  OF  TESTIMONIALS 


399 


Bosendorfer,  uses  the  Stein- 
way  with  great  satisfaction 
and  considers  the  Weber 
''  sublime."  Sofie  Menter 
plays  the  Erard,  describes 
the  volume  of  tone  in  the 
Steinway  as  "  tremendous," 
and  tells  Bosendorfer  that 
''  nothing  gives  her  greater 
pleasure  than  to  play  on  his 
pianos."  Paderewski  made 
his  reputation  with  the  Stein- 
way, and  has  words  of  praise 
for  the  Erard  and  Weber. 
Josef  Hofmann,  who  played 
the  Weber  on  his  first  Amer-  ' 
ican  tour  and  the  Schroder 
while  studying  with  Eubinstein,  says,  "  I  use  the  Steinway  because 
I  know  it  is  the  best." 

And  so  forth  ad  infinitum!  All  of  which  goes  to  prove  that  the 
leaders  in  the  piano  industry  keep  abreast  of  the  times  and  know 
how  to  build  pianos  to  satisfy  the  great  exponents  of  the  art  of 
piano  playing.  Why  should  a  piano  virtuoso  confine  himself  to 
one  make  of  piano?  The  violin  virtuoso  plays  on  a  Stradivarius, 
Amati,  Guarnerius,  a  Vuillaume,  Bauscli  or  Gemiinder — all  of  them 
master  builders. 

It  is  true  that  in  some  instances,  and  especially  in  America,  the 
piano  maker  has  to  assume  the  role  of  financial  backer  of  a  piano 
virtuoso's  concert  journey,  because  the  artist  must  have  a  guar- 
antee, but  that  does  not  involve  dishonest  public  expression  of 
opinion  regarding  the  value  of  the  piano  used  by  the  virtuoso.    If 


I.  J.  Paderewski 


400 


PIANOS  AND  THEIR  MAKEES 


the  piano  is  not  of  the  high- 
est order,  the  artist  eannot 
afford  to  use  it,  no  matter 
wiiat  financial  consideration 
miglit  be  offered,  because,  if 
lie  should  use  a  poor  ]Viano 
in  his  concerts,  his  own 
rei)utation  as  a  performer 
might  be  ruined. 

Since  the  piano  manufac- 
turer craves  the  indorse- 
ment of  leading  ]:)erformers, 
he  naturally  is  exceedingly 
liberal  in  his  treatment  of 
artists.  He  willingly  as- 
sumes all  the  risks  of  a  con- 
cert journey,  sends  his  pi- 
anos for  the  use  of  tlie  artist  wherever  he  may  require  them  and 
is  solicitous  for  the  artist's  personal  comfort,  just  as  Nannette 
Stein-Streicher  cared  for  Beethoven  1 70  years  ago.  Modern 
piano  makers  go  bevond  that.  Thev  assume  all  the  risk, 
willin.iily  granting  to  the  artist  all  possible  benefits.  It  is  of 
record  that  not  many  j^ears  ago  a  piano  house  made  a  con- 
tract with  a  ])ianist,  guaranteeing  him  $30,000  foi-  a  season's 
concert  journey,  no  matter  what  the  proceeds  miglit  be.  It  was 
a  gamble,  because  the  artist  was  entirely  unknown  in  America. 
'I'Ik'  .<i:naranteed  sum  was  more  than  the  artist  had  earned  in  his 
fiiliie  career,  and  he  was,  of  course,  elated  over  his  good  fortune. 
TlicTi,  how  sur])rised  was  he  when,  at  the  end  of  his  journey,  the 
piano  nuiker  handed  him  his  check  for  an  additional  $15,000,  be- 
cause the  concerts  had  drawn  full  houses,  for  which  fact  the  in- 


Josef  Ilofmami 


ifl 


c 

in 

!i5 


VALUE  OF  TESTIMONIALS  401 

telligent  and  bold  advertising  of  the  piano  house,  to  a  large 
extent,  deserved  the  credit.  The  artist's  name,  fame  and  fortune 
were  made  in  his  first  American  season. 

The  virtuoso  who  plays  the  i)iano  is  the  expert,  capable  of 
rendering  judgment  as  to  (piality  and  volume  of  tone,  touch,  etc. 
His  favorable  testimonial  is  desirable  and  becomes  valuable 
through  its  influence  upon  the  piano-buying  public.  The  fact  that 
every  virtuoso  willingly  gives  his  indorsement  to  many  pianos, 
all  of  which  he  has  tested  in  his  concert  work,  does  not  detract 
from  the  value  of  the  testimonial.  On  the  contrary,  it  enhances 
the  same,  to  the  interest  of  the  industry.  The  value  of  artists' 
testimonials  has  ever  been  an  incentive  to  progressive  piano  makers 
to  improve  their  instruments  so  that  the  greatest  virtuoso  cannot 
well  refuse  to  play  upon  them. 


PART  FIVE 


CHAPTER  I 


National  Associations  of  Manufacturers  and  Dealers  in  Europe 
and  America. 


PART    FIVE 

CHAPTER  I 

NATIONAL  ASSOCIATIONS  OF  MANUFACTURERS  AND 

DEALERS 

WHEN,  through  the  advance  of  the  factory  system,  the 
guilds  of  the  various  trades  disappeared,  no  other  or- 
ganization took  their  place  for  a  long  time,  and, 
instead  of  the  old-time  harmony  of  the  members  of  an  industry, 
the  rivalry  became  so  intense  that  competitors  in  business  looked 
upon  each  other  as  enemies.  Once  in  a  while  a  strike  on  the 
part  of  the  workingmen  would  bring  the  bosses  togetlier  for  a 
consultation,  but  even  those  meetings  usually  lacked  harmony. 
However,  the  evident  solidarity  of  interests  finally  forced  a  closer 
connection  and  we  learn  of  the  organization  of  the  "  Chambre 
Syndicale  of  Manufacturers  of  Pianos  "  and  the  ''  Chambre  Syn- 
dicate of  Manufacturers  of  Musical  Instruments,"  of  Paris  in  1853, 
Both  chambers  were  merged  into  one  organization  in  1889  under 
the  name  of  "  Chambre  Syndicale  of  Manufacturers  of  Musical 
Instruments."  This  organization  was  presided  over  by  Mons, 
Thibouville-Lamy  until  1896,  since  which  time  Mons.  Gustave  Lyon 
of  Pleyel,  Lyon  &  Company  has  been  acting  as  president. 

The  object  and  purpose  of  this  association  is  defined  in  its 
constitution  as  follows: 

405 


40fi 


riAXoS  AND  TllKli;  MAKEKS 


Gustave  I.\tMi 


(1 )  To  streno'then  the  re- 
Intioiis  between  all  tlie  mem- 
bers of  tlie  industry. 

{•2)  To  Ineilitate  the  de- 
vek)])meiit  of  their  x^ros- 
perity. 

{?))  To  sii])])oi't  all  claims 
and  reciiiests  rei^arding-  dii- 
lies,  taxes,  railroad  and  in- 
sniance  rates,  etc. 

(4)  To  furnish  members 
infoi-mation  regarding  tlie  fi- 
nancial standing  of  clients, 
and  finally  to  maintain 
loyalty  and  dignity  in  their 
connnercial  relations.  The 
annual  dues  are  20  francs 
foi-  each   member.     No   for- 


eign manufacturer  can  belong  to  the  chamber  until  he  has 
been  established  in  i-'iance  10  years  and  the  majority  of  his 
inoducts  are  manufactured  in  France.  The  officers  are:  a 
l)resident,  two  vice-presidents,  a  secretary-general,  a  keeper  of 
records,  a  treasurer  and  an  assistant  secretary.  The  election  of 
(iflicers  is  held  annually.  The  organization  is  divided  into  five 
gr<'Ups,  as  follows: 

(1)  l^iano    Industry    (pianos    and   organs). 

(2)  AVind    Instruments   (wood  and  brass). 

(3)  Sti'ing   Instruments   (violins,  etc.). 

(4)  Supi)lies. 

(5)  Automatic  Tnsti-uments. 

Each  grou))  has  its  own  oi'ganization,  with  a  president  and 
secretary. 


NATIONAL  ASSOCIATIONS 


407 


In  case  of  differences 
among'  members,  with  each 
other  or  witli  outsiders  in 
connection  with  the  industry, 
the  ]iresident  appoints  a. 
committee  of  arbitration, 
whose  members  shall  act  as 
friendly  advisers  to  the  dis- 
imting-  i)arties.  All  decisions 
of  the  chamber  are  subject 
to  the  vote  of  the  majority. 
Every  member  must  pay 
special  dues  of  12  francs  an- 
nually to  meet  extraordinary 
expenses  and  strengthen  the 
treasurv. 

Austria  has  no  national 
organization    of    the    music 

trades,  but  a  number  of  local  associations,  of  which  the 
"  Association  of  Musical  Instrument  Makers  of  Grasslitz  "  is 
the  oldest.  It  was  founded  in  1883,  has  over  300  members  and 
supports  a  school  in  which  young  men  are  taught  the  technical 
and  practical  making  of  instruments. 

The  Vienna  piano  and  organ  makers  formed  an  association  in 
1905.  Its  aims  and  purposes  are  similar  to  those  of  the  "  Paris 
Chambre  Syndicale."  Franz  Schmidt  is  acting  president  and 
Friedrich  Ehrbar,  one  of  the  directors.  Ludwig  Bosendorfer  is 
the  onlv  honorarv  member  of  the  bodv. 

Germany  has  a  large  mnnber  of  associations  for  the  various 
branches  of  the  music  industries.  The  ''  Association  of  Piano 
Manufacturers  "  was   organized  at  Leipsic   in   1893  with  Adolf 


Adolf  Schiedmayer 


408 


PIAXOS  AND  TIIELK  ^FAKERS 


Se'liicdinayer  as  i)rosi(loiit. 
Tlic  ' '  ( 'Imrcli  ( )i",u;ni  Guild- 
ers "  followed  in  IS!*."), 
"  Musical  liistruDieiit  ^Mak- 
ers  "ill  1S1)7  and  the  ''  l*i- 
ano  I  )('al('i's  "in  1S99.  The 
''  National  A>soeialion  ol' 
Piano  .Manufacturers  "  |mr- 
sues  the  same  objects  as  its 
T*ai'is  coiiteni])oraTy,  hut  in 
addition  thereto  has  entered 
upon  an  effective  policy  of 
])raetical  aid  to  its  mem- 
bers. It  is,  for  instance, 
compulsory  for  each  manu- 
facturer to  educate  a  num- 
ber of  ap})rentices  propor- 
tionate to  tlie  nuinher  of  men  emi)l()yed  in  his  factory.  The  ener- 
getic pioident  of  llie  association.  Privy  Commercial  Counselor 
Adolf  Schiedmayer  of  Stuttgart,  is  organizing  a  trade  school  for 
])iano  makers  in  that  city,  to  assure  the  education  of  young  men  in 
the  scieiitilic  theories  and  ]n-actice  of  ])iano  huihling.  This  is  the 
first  institution  of  its  kind,  and  wlien  fully  established  will  be  of 
great  service  to  the  industry  at  large.  The  school  is  mainly  sup- 
]>orted  !»>•  contributions  i'lom  members  of  the  associations  and 
enjoys  the  protection  and  aid  of  the  royal  government  of 
A\'urteniliui'g. 

'i'lie  *'  National  Association  of  Piano  Dealers,"  with  head- 
<iuai-ters  at  Leipsic,  has,  from  its  inception,  under  the  al)le  leader- 
ship of  President  Carl  Andre  of  Frankfort,  a./M.,  inaugurated 
an<l  carried  on  a  most  energetic  campaign  against  fraudulent  acl- 


Carl  Andr6 


NATIONAL  ASSOCIATIONS  409 

vertising,  sham  sales  and  all  dislionest  or  disreputable  methods 
prevalent  in  tlie  i)iano  trade,  with  excellent  results.  The  associa- 
tion lias  344  active  members  and  maintains  a  bureau  of  informa- 
tion, i)ul)lisliing  i)eriodically  contidential  circulars  containing  rec- 
ords of  objectionable  people  dealing  in  luanos  and  other  trade 
notices. 

In  October,  1908,  the  various  organizations  formed  the  "  Na- 
tional Association  of  Musical  Instrument  Industries,"  without, 
however,  disturbing  the  existing  organizations.  This  national 
association  has  its  headquarters  at  Leipsic  and  is  subdivided  ter- 
ritorially into  three  sections,  with  bureaus  at  Leipsic,  Berlin  and 
Stuttgart.  The  management  is  in  the  hands  of  a  president,  Adolf 
Schiedmayer  of  Stuttgart;  a  vice-})resident  and  treas^urer,  Her- 
mann Feuricli  of  Leipsic,  and  a  vice-president  and  secretary,  Max 
Bliithner  of  Leipsic.  The  main  purpose  of  this  association  is  to 
represent  the  entire  industries  as  a  body  in  matters  of  tariff  laws, 
transportation,  factory  regulations,  etc.,  seeking  to  harmonize  the 
needs  and  wants  of  the  various  special  organizations  of  the  Ger- 
man Empire. 

The  "  Music  Trade  Association  of  Great  Britain  "  was  or- 
ganized in  ]\rarch,  1886,  with  Sir  Herbert  Marshall  as  president. 
The  principal  object  of  this  association  is  "  to  extend  a  watchful 
regard  over  all  matters  affecting  the  retail  trade  and  to  give 
timely  information  to  the  members,"  and,  further,  "  to  hold  con- 
ferences for  the  interchange  of  views  on  questions  of  general  trade 
interest,  and  generally  to  co-operate  and  take  such  combined  action 
in  defense  of  the  just  interests  of  the  retail  trade  as  may  be  found 
needful." 

The  "  Pianoforte  Manufacturers'  Association  "  of  London, 
founded  in  1887 — George  D.  Rose,  president — has  as  its  object : 
*'  To  promote  and  protect  the  various  interests  of  the  music  trade 
generally,  to  promote  and  support  or  oppose  legislative  or  other 


410  riAXOS  AND  THEIR  MAKERS 

measures  nffeeting  the  aforesaid  interests;  to  seciiic  tlie  more  eco- 
noiiiical  ami  enVctiial  wiiidiiii;-  up  of  tlie  estates  of  baiiki'ii])ts  or 
insoKi'iit  (l('l)t(>rs;  to  i'nilca\(»r  to  secure  prosecution  ol'  rraudulent 
debtor.-,  and  to  undertake,  if  retj[uested  by  l)()tli  parties,  settlement 
l)y  ai"bit  faliou." 

Ill  tile  Inited  Slates  Die  ])ian()  mauufactui-ers  of  New  York 
oruanized  the  liisl  association  in  the  fall  of  ISDO.  William  E. 
AVheelock  was  elected  first  president  and  served  until  IS!),").  Later 
on  a  nunibiT  o(  K)cal  associations  of  })iano  juanufacturers  and 
dealers  \v(>ro  organized  who  coml)iued  in  August,  1897,  to  form  the 
*•  National  Tiano  Manufacturers'  Association  of  America."  its 
(iliject    is  the   rni'tlu'rance  of: 

( 1 )  A  ])etter  aciiuaintance  among  the  members  of  tlie  trade, 
gooil  fellowshii)  and  interchange  of  views  on  to^^ics  of  mutual 
eoncei'u. 

(2)  The  ethics  of  the  i)iano  trade. 

(3)  Tei-i'itorial  lights  of  manufacturers  and  dealers  in  regard 
to  x'Hiiig  pianos. 

(4)  A  uniform  warranty. 

(r-))  The  i)roducts  of  su}>ply  houses:  i.e.,  the  question  of  stamp- 
ing tlic  niaiiufacturer's  name  upon  i)iaiio  ])arts  furnished  by  the 
supi)ly  houses  to  the  trade. 

(())  The  relation  of  the  manufacturers  to  the  music-trade 
l)ress. 

(7  and  H)  To  obtain  reductions  in  insurance  and  transportation 
rates. 

(9)  Tlie  estal)lishment  of  a  bureau  of  credits. 

(10)  Legislation  by  united  action;  that  more  uniform  laws 
shall  be  enacted  in  several  States  regarding  conditional  sales,  and 
sucli  other  matters  of  importance  to  the  piano  trade  as  may  come 
u\)  from  time  to  time. 


Presidents  of  the  National  Association  of  Piano  Manufacturers  of  America  from 

1S97  to  1911 


Presidents  of  the  National  Association  of  Piano  Dealers  of  America  from  1!)()2  to  1011 


NATIONAL  ASSOCIATIONS  411 

The  association  is  governed  by  a  i)resident,  two  vice-presidents, 
a  treasurer,  secretary  and  assistant  secretary.  Contrary  to  the 
European  system,  where  officers,  once  elected,  are  reguUirly  re- 
elected as  long  as  they  are  able  to  attend  to  their  duties  with  effi- 
ciency, this  association  changes  its  governing  board  (willi  the 
exception  of  the  assistant  secretary)  annually. 

The  "  National  Association  of  Piano  Dealers  of  America  "  was 
organized  in  May,  1902.  Its  object  is  tersely  stated  in  its  consti- 
tution, as  follows : 

"  The  object  of  this  association  shall  be  the  mutual  elevation 
of  trade  interests."  Its  by-laws  provide  for  the  following  board: 
a  president,  four  vice-presidents,  a  commissioner  for  each  State 
and  Territory  (to  be  known  as  state  commissioners),  a  secretary, 
a  treasurer,  and  an  executive  board  consisting  of  the  president, 
secretary,  treasurer  and  four  members  of  the  association.  The 
officers  are  elected  at  the  annual  meeting  and  usually  a  new  set 
is  chosen  each  year.  The  membership  is  divided  into  active  and 
associate  members.  The  latter  class  takes  in  any  one  engaged  in 
any  branch  of  the  musical  industry  not  otherwise  eligible.  The 
annual  dues  are  $10  for  active  and  $5  for  associate  members.  The 
association  has  a  membership  of  over  1,000,  and  has  done  very 
eiTective  work  in  guarding  the  ethics  of  the  piano  trade,  and  is 
making  strenuous  efforts  for  the  general  introduction  of  the  one- 
price  system. 

National  piano  exhibitions  have  lately  been  held  in  connection 
with  the  annual  dealers'  conventions,  apparently  to  the  benefit  of 
both  dealers  and  manufacturers. 


PART  FIVE 

CHAPTER  II 
The  Trade  Press — Its  Value  to  the  Indiistryo 


PART    FIVE 

CHAPTER  II 
THE  TRADE  PRESS— ITS  VALUE  TO  THE  INDUSTRY 

IX  America  the  piano-trade  press  evolved  slowly  and,  after 
many  interrnptions  from  so-called  musical  journals,  the  first 
of  wliicli,  the  "  American  Musical  Journal,"  was  founded 
in  1835.  It  carried  some  advertisements  of  piano  manufacturers 
and  would  publish,  off  and  on,  items  which  at  that  time  were  con- 
sidered trade  news. 

In  1843  Henry  C.  Watson  established  his  "  Musical  Chronicle  " 
in  New  York.  Watson  was  a  most  remarkable  man,  equally  gifted 
and  learned  as  a  musician  as  he  was  as  a  writer,  and  withal  a  man 
of  business.  He  saw  the  necessity  of  enlisting  the  active  support 
of  the  piano  manufacturers  for  his  journal  and  endeavored  hon- 
estly to  render  value  for  such  support.  Thus  Watson  became  the 
founder  of  piano-trade  journalism.  It  is  to  be  regretted  that  space 
does  not  permit  a  complete  record  of  the  brilliant  career  of  this 
interesting  character. 

Born  in  London  on  November  -1,  1818,  he  appeared  at  Covent 
Garden  in  ''  Oberon  "  at  the  age  of  nine,  singing  the  part  of  a 
''  fairy."  In  1811  he  came  to  New  York,  welcomed  by  such  men 
as  William  CuUen  Bryant,  Horace  Greeley  and  others  of  like  stand- 
ing. He  was  immediately  engaged  as  a  musical  critic  for  the 
"  New  World,"  then  edited  by  Greeley.  Besides  his  duties  as  a 
critic  and  also  writing  lyrics  and  composing  songs,  Watson  man- 

415 


416 


riAXOS  AND  TllKlK  .MAKEUS 


aged  to  |»iil)lisli  the  "  Broad- 
"way  .lounial."  ciilisling  Ed- 
gar Allan  I*t»('  as  editor.  He 
found.  li(»\v('\-('r.  liis  real  field 
of  usefulness  in  his  ''  ^Tu- 
sieal  I'lirunicle,"  in  which  lie 
intcM-ested  Jonas  riiickering 
as  well  as  the  leaders  among 
the  New  York  piano  manu- 
facturers. He  had  discovered 
that  the  interests  of  nuisical 
art  and  the  interests  of  the 
piano  industry  were  interde- 
l)endent  and  that  the  one 
nmst  support  the  (jther  for 
mutual  benefit.  He,  there- 
fore, devoted  considerable 
energy  to  the  propaganda  of  the  ])iano.  In  course  of  time  he 
changed  the  title  of  his  i)ublication  to  ''  ^Musical  Times," 
••  IMiilhai-inonie  Journal  "  and  finally  to  ''  The  American 
Alt  .b.iiinal."  He  was  one  of  the  founders  of  the  Philharmonic 
Society  and  also  organized  the  Mendelssohn  Union  of  New 
^'ork. 

As  nuisical  critic  of  the  "  New  York  Tribune  "  and  editor-in- 
chief  of  '^  Frank  T.eslie's  Tllu^trated  Xewsiia])er,"  AVatson  was  for 
iii;in>-  Ncars  one  of  the  pillais  (»!'  musical  life  in  America.  He  died 
on  Decembei-  4,  1875,  at  the  age  of  57.  "  The  American  Art  Jour- 
nal "  was  continued  by  Watson's  pupil,  William  M.  Thoms,  until 
his  letirement  in  11)06. 

The  *'  Afusic  Trade  TJeview,"  foundecl  in  November,  1875,  by 
Jolin  ( ".  Erennd,  appeared  I'oi-  about  two  years;  it  was  followed 
in  1878  by  the  "  Musical  Times,"  which  soon  changed  to  "  Musical 


Ilciirv  C.  Watson 


THE  TRADE  PRESS  417 

and  Dramatic  Times."  In  1881  Freuud  started  a  journal  called 
"  Music,"  which  title  was  changed  to  "  ^lusic  and  Drama." 
"  Freund's  Weekly  "  ai)i)eared  in  1884.  Soon  changed  to  "  Music 
and  Drama."  In  1887  Freund  joined  J.  Travis  Quigg  in  publish- 
ing the  "  American  Musician,"  and  in  1893  he  started,  with  ^Nfilton 
Weil,  ''  ISlusic  Trades." 

Charles  Avery  Wells  established  the  ''  Music  Trade  Journal  " 
in  187(3,  which  he  changed  to  the  "  Musical  Critic  and  Trade  Re- 
view "  in  1879.  In  January,  1888,  Edward  Lyman  Bill  bought  an 
interest  in  the  journal  and  soon  became  sole  owner.  He  changed 
it  from  a  fortnightly  to  a  weekly,  under  the  title  of  "  Music  Trades 
Review,"  making  it  the  first  trade  paper  published  in  America 
devoted  exclusively  to  the  music  industries.  He  has  also  published 
several  valuable  treatises  on  piano  construction,  in  book  form, 
which  are  enumerated  elsewhere. 

In  1880  Harry  E.  Freund  began  to  conduct  a  journal  called 
"  Music  and  Drama,"  which  title  he  later  changed  to  *'  Musical 
Age." 

William  E.  Nickerson  started  the  ^'  Musical  and  Dramatic 
News  "  in  1877.  It  went  into  the  hands  of  the  Lockwood 
Press,  who  sold  the  same  to  Marc  A.  Blumenberg  in  1881,  and 
the  name  was  changed  to  "  Musical  Courier."  In  1897  Blumen- 
berg separated  the  musical  and  industrial  departments, 
publishing  the  "  Musical  Courier  Extra  "  strictly  as  a  trade 
edition. 

"  The  Indicator,"  established  by  Orrin  L.  Fox  at  Chicago  in 
1880,  devoted  to  the  liberal  arts  and  art  industries,  was  changed 
into  an  organ  for  musical  industries  exclusively,  being  the  first 
in  the  field  to  make  effective  propaganda  for  the  i)iano  industry  of 
the  west. 

''  The  Presto  "  was  founded  at  Chicago  by  Frank  A.  Abbott  in 


418  riAXoS  AND  TllKllJ  .MAKERS 

1883.  The  '"  riv>t(»  Year  IWjok  "  is  a  very  valnablo,  historical 
eomi^eiKlinin  ol"  \v;\f\o  events.  Al)l)i)U  assoeiat(Ml  hiiiiscli'  in  18*J4 
with  (".  A.  haiiicll,  who  holds  tlie  responsihh'  position  as  editor-in- 
ehiel"  of  the  \arioiis  Presto  pnljlieations. 

Tlie  "  Chicauo  Musieal  Times"  was  started  by  William  1^]. 
Xickci-sun  in  JS8j,  and  has  b^en  di'\ek)|)ed  to  its  })i'esent  com- 
maiidiii.i;-  position  by  i\  15.  liari>'er,  wlio  aninired  control  in  1895. 

George  l*>.  Ai'instrong  estal)lisli('(l  his  dignified  monthly  jour- 
nal, '•  Tlie  Piano  Trade/'  at  Chicago  in  VMS. 

Ill  p.ip)  ('.  A.  Datiicll  assnmed  tlie  management  of  the  "  Piano 
Magazine,"  an  illustrated  monthly  i)nl)lished  in  Xew  York  City. 
'Iliis  pnl)li('ation  treats  mainly  of  the  historical,  mnsical  and  tech- 
nical aspects  (if  tilt'  piano  and  allictl  musical  industries  in  an  enter- 
taining manner,  thus  differing  from  the  trade  jonrnals  which  deal 
niainly  with  the  news  of  the  day. 

The  "  Zeitschrit't  fiir  instrumentenbau  "  was  established  by 
Panl  (]('  ^Vit  at  Leii)sic  in  1880  and  has  a  wide  circulation  all  over 
Eurojje. 

The  "  AVelt-Adressbnch  "  of  musical  industries,  com})iled  and 
l)ul)lished  t)y  Paul  de  Wit,  is  a  most  valuable  reference  book.  It 
contaiTis  the  names  of  all  the  firms  connected  in  any  way  with 
musical  industries  in  all  parts  of  the  world. 

The  "  Musik  Instrumenten-Zeitung,"  })nblislied  in  Berlin,  was 
startc(l  in   1S<)(). 

In  England  the  "  London  and  Pi'ovincial  Ylusic  Trades  Re- 
view "  was  established  in  London  in  1877;  "  Musical  Opinion  and 
Music  Ti-ade  Review,"  also  a  monthly  jniblication,  often  contains 
valuable  cont  rilmtions  of  interest  to  the  piano  trade.  ''  The  Piano 
♦Journal  "  is  a  monthly  dcx'olcd  cntii'cl}-  to  the  interests  of  piano 
makers  and  dealers.  The  monthly  journal,  ''  Music,"  also  makes 
reference  to  trade  tojncs. 


tup:  trade  press  419 

The  Importance   and   Value   of  the   Trade   Press   to   the   Piano  ■ 

Industry 

As  the  government  of  a  nation  is  only  the  reflex  of  the  indi- 
viduals composing  the  nation,  so  is  the  trade  press  the  reflex  of 
the  individuals  composing  an  industry.  The  character  of  a  trade 
press  is  stamped  upon  it  by  its  patrons.  The  earlier  piano-trade 
papers,  after  Watson's  time,  allowed  themselves  to  be  used  by  a 
group  of  firms,  from  which  they  received  liberal  financial  support. 
This  tended  to  demoralization,  and  the  cry  of  blackmail  was  heard. 
The  papers  depending  on  this  one-sided  support  had  a  precarious 
existence,  and  had  to  go  to  the  wall  whenever  the  extra  subsidy  was 
withheld.  Questionable  methods  were  resorted  to,  off  and  on,  to 
compel  more  liberal  financial  support  from  the  piano  makers. 

The  conditions  existing  in  the  piano  trade  some  30  years  ago 
were  such  as  really  to  infect  part  of  the  trade  press  with  the 
bacillus  of  coercion.  But,  after  all,  the  papers  which  did  pursue 
a  policy  of  coercion  became  unconsciously  "  ein  tlieil  von  jener 
kraft,  die  boses  will  und  gutes  schafft."  Repeated  failures  of  the 
most  aggressive  papers  of  that  character  proved  the  error  of 
playing  champion  for  one  or  more  firms,  and  the  various  later 
publications  started  out  with  the  pronounced  policy  of  aiding  the 
entire  industry  and  injuring  none.  Success  followed  this  policy, 
and  the  piano  trade  of  to-day  has  in  its  trade  press  a  great  help- 
mate which  is  worthy  of  the  support  it  enjoys. 

It  is  altogether  wrong  to  consider  the  support  of  a  clean  trade 
paper  as  a  tax.  Every  laborer  is  worthy  of  his  hire,  and  the  more 
liberally  the  trade  press  is  supported  the  better  service  it  can 
render,  a  service  needed  by  the  trade  and  obtainable  only  through 
a  well-organized  press. 

That  music-trade  journalism  is  an  honorable  profession  has 


r20  TTAXOS  AXT)  TTTKIK^  ^lAKERS 

Ijoeii  (l»'itionstrntc(l  liy  its  i'onndcr,  TToiiry  C.  AVatson,  who  enjoyed 
the  respei't  and  waiin  liieiidship  of  his  supporters  as  well  as  that 
nl'  the  (•(»iiiiiniiiit\'  at  large.  The  value  of  an  honest  and  able  trade 
])ress  is  ahnost  unineasural)l('  in  the  coin  of  the  realm.  From  year 
to  ycai-  thi'  piniio-t rade  i)ress  has  grown  in  dignity  and  usefulness, 
and,  just  as  soon  as  the  indnsti-y  itself  gets  entirely  upon  the 
I 'lane  of  K'gitimate  business  methods,  whatever  may  be  objection- 
able in  the  trade  press  of  to-day  will  then  of  necessity  die  its  nat- 
ural death. 


PART  FIVE 

CHAPTER  III 

Literature  on  the  Pianoforte 


PART   FIVE 

CHAPTER  III 
LITERATURE  ON  THE  PIANOFORTE 

THE  first  attempt  to  write  a  history  of  the  pianoforte  was 
made  in  1830  by  M.  Fetis,  ''  Sketch  of  the  History  of  the 
Pianoforte  and  the  Pianists,"  a  laborious  effort  bv  a  bril- 
liant  writer,  but  of  little  value  to  the  piano  maker. 

Kusting's  "  Practisches  Handbuch  der  Pianoforte  Baukunst," 
Berne,  1844,  is  a  more  iDractical  treatise  than  Fetis'  attempt,  but 
antiquated  and  only  of  interest  to  the  historian.  The  same  may  be 
said  of  the  interesting  work  of  Professor  Fischhof,  "  Versuchi 
einer  Geschichte  des  Clavierbaues,"  Vienna,  1853. 

Welcker  von  Gontershausen  published  in  1860  "  Der  Clavierbau 
in  seiner  Theorie,  Teclmik  und  Geschichte,"  a  fourth  edition  of 
which  was  printed  in  1870  by  Christian  Winter,  Frankfurt  a./M. 

As  a  practical  piano  maker,  fairly  well  posted  on  the  laws  of 
acoustics  and  thoroughly  acquainted  with  the  characteristics  of  all 
known  musical  instruments,  Welcker  has  given  a  work  of  interest- 
and  value.  It  is  to  be  regretted  that  his  extreme  patriotism  and 
rather  biased  opinion  do  not  permit  him  to  do  full  justice  to 
pianos  made  in  other  countries  than  Germany.  Aside  from  this 
fault,  his  book  is  to  be  recommended  to  the  studious  piano  maker 
as  well  as  the  student  of  musical-instrument  lore. 

Dr.  Ed.  F.  Rimbault  published  in  1860,  in  London,  his  ambitious 
work,  "  The  Pianoforte."    Written  at  the  time  when  the  English 

423 


424  PIANOS  AND  THEIR  MAKERS 

piano  iiuln.-^try  was  at  its  lieigiit,  it  is  pardonable  that  the  author 
laid  liis  emphasis  on  English  efforts  and  achievements  rather  at 
the  expense  of  the  French,  German  and  Austrian  schools.  It  must 
be  assuuicnl  llial  the  aciiievements  of  the  hitter  were  not  known 
to  him  ill  tlioii"  iMitirety  and  iiiiportance.  Especial  credit  is,  how- 
ever, due  to  IJiiiiliniilt  Tor  having  produced  documentary  evidence 
of  Christofori's  priority  as  inventor  of  the  pianoforte. 

G.  'F.  Sievei's  of  Naples,  an  al)k'  i)iano  maker,  ])uMished  in  1868 
his  ''  11  I'ianoforte  Guida  Practica,"  with  a  special  atlas  showing 
piano  actions  in  natui-a!  size  and  ilierefore  of  great  value  to  the 
piano  student. 

\)v.  Oscar  Paul,  a  professor  at  the  Conservatory  of  Music  in 
Leipsic,  wrote  in  18()8,  ''  Geschichte  des  Claviers."  The  learned 
professor  of  music  failed  to  do  justice  to  the  title  of  his  book. 
Entirely  unac(iuainted  with  the  ]iractical  art  of  ])iano  making,  he 
assumes  an  authority  which  is  anuising  to  tlie  knowing  reader. 
Like  AVek'kers,  Dr.  Paul  suffers  too  much  from  German  egotism. 
All  through  the  book  the  effort  of  ascribing  all  progress  in  piano 
construction  to  his  countrymen  is  })ainfully  })alpable,  he  even  go- 
ing so  far  as  to  im])ly  that  Christofori  had  co]>ied  Schroter's  in- 
vention, an  cfToi-t  which  demonstrates  Paul's  ignorance  of  action 
construction.  However,  the  book  contains  sufficient  good  matter 
to  icpay  reading  it.     Publisiied  by  A.  H.  Payne,  Leipsic. 

For  the  practical  piano  nuU^er  who  reads  German,  the  ''  Lehr- 
])nch  des  Pianofortebaues,"  by  Julius  Bliithner  and  TTeinrich 
Gretschel,  pu])lished  in  1872  and  revised  by  Robert  Hannemann  in 
19fH),  Leipsic,  Pernh.  Friedr.  Voigt,  ofl'ers  much  valuable  infor- 
mation, treating  with  great  care  the  construction  of  the  piano  and 
tlu'  materials,  tools  and  machinery  used  in  the  manufacturing  of 
the  instrument.  It  also  has  a  short  essay  on  acoustics  written  by 
Dr.  AValter  Niemann,  who  furthermore  contributes  a  history  of  the 
piano  up  to  the  time  of  the  general  introduction  of  the  iron  frame. 


LITERATURE  ON  THE  PIANOFORTE  425 

Edgar  Brinsmead's  "  History  of  the  Pianoforte,"  London,  1889, 
dwells  too  mueli  upon  the  achievements  of  the  firm  of  Brinsmead 
<fe  Sons  and  loses  all  importance  when  compared  to  A.  J.  Hi])kins' 
"  Descrii)tion  and  History  of  the  Pianoforte,"  published  by  No- 
vello  &  Company,  London,  1890.  An  earnest  scholar  and  careful 
writer,  Hii)kins  successfully  avoids  the  many  pitfalls  of  the  lexicog- 
raphers and  gives  a  clear  and  succinct  description  of  the  develop- 
ment of  the  i)iano  from  its  earliest  stages  to  the  modern  concert 
grand.  The  book  is  well  worth  careful  perusal  by  anyone  inter- 
ested in  the  piano  industry. 

Daniel  Spillane's  "  History  of  the  American  Pianoforte,"  New 
York,  1890,  is  an  interesting  compendium  showing  the  development 
of  the  piano  industry  in  the  new  world,  with  sidelights  upon  the 
men  who  have  been  most  prominent  in  that  sphere. 

Edward  Quincy  Norton,  a  piano  maker  of  long  and  manifold 
experience,  wrote  his  "  Construction  and  Care  of  the  Pianoforte  " 
in  1892.  This  book,  published  by  Oliver  Ditson  &  Company  of 
Boston,  contains  valuable  suggestions  for  tuners  and  repairers, 
and  is  still  meeting  with  a  ready  sale. 

The  more  modern  books,  ''  Piano  Saving  and  How  to  Accom- 
plish It,"  by  Edward  Lyman  Bill,  and  "  The  Piano,  or  Tuner's 
Guide,"  by  Spillane,  also  William  B.  White's  books,  "  Theorj^  and 
Practice  of  Pianoforte  Building,"  ^'  A  Technical  Treatise  on  Piano 
Player  Mechanism,"  "  Regulation  and  Repair  of  Piano  and 
Player  Mechanism,  Together  with  Tuning  as  Science  and  Art  " 
and  "  The  Player  Pianist,"  all  published  by  Edward  Lyman  Bill, 
New  York,  have  found  wide  circulation  among  practical  piano 
makers  because  of  their  popular  treatment  of  intricate  subjects. 
All  of  these  books  are  almost  indispensable  for  a  conscientious 
tuner  and  repairer. 

Among  the  strictly  scientific  works,  John  Tyndall's  treatise  on 
^^  Sound  "  and  Helmholtz'  ''  Sensation  of  Tone  "  offer  much  food 


426 


PIANOS  AXD  TTTETR  ^FAKERS 


for  tlioiiii'lit  to  tlio  student 
of  acoustics,  altlioui>li  Ilchn- 
lioltz's  originally  nnicli- 
lauded  "  Tone  AVave  The- 
ory," as  well  as  his  so- 
called  discovery  of  the  "  Ear 
Harp,'"  have  been  vigorously 
attacked  by  Henry  A.  Mott 
in  his  book,  "  The  Fallacy 
of  the  Present  Theory  of 
Sound  "  (New  York,  John 
Wiley  &  Sons),  and  by 
vSiegfried  Hansing  in  "  Das 
Pianoforte  in  seinen  akus- 
tischen  Anlagen,"  New 
York,  1888,  revised  edition, 
Schwerin  i./M.,  1909. 

llansing's  work  is  be- 
yond (luestion  the  most  important,  so  far  written,  on  the  construc- 
tion of  the  ])ianoforte.  His  studies  in  the  realm  of  acoustics 
disclose  a  most  ])enetrating  mind  capable  of  exact  logical  rea- 
soning, ilc  bases  his  conclusions  on  exhaustive  studies,  without 
regai-d  to  the  accepted  theories  of  earlier  scientists.  As  a  thor- 
oughly piactical  piano  maker  and  master  of  his  art,  Hansing 
stiidicil  cause  and  effect  in  its  ap])lication  to  the  piano,  and  his 
book  is  a  rich  mine  of  information  for  the  ])rospective  piano 
designer  and  constructor.  I'ree  from  any  business  affiliations,  he 
treats  his  subject  with  an  im])nrtial  and  unl)iased  keenness  of 
l)ercei)tion  which  is  at  once  im])ressive  and  convincing. 

Dr.    AValter    Niemann's    ''  Das    Klavierbuch,"    C.    F.    Kahnt 
Naclifolger,  Leipsic,  is  an  entertaining  little  book  on  the  i)iano,  its 


LITERATURE  ON  THE  PIANOFORTE  427 

music,  composers  and  virtuosos,  containing  many  illustrations  of 
rare  and  valuable  pictures  of  noted  artists  playing  tlie  piano. 

Henry  Edward  Krelibiel's  more  pretentious  and  serious  work^ 
"  The  Pianoforte  and  Its  Music,"  Scribner,  New  York,  1911,  is 
a  valuable  work  of  interest  to  the  student  of  the  piano,  the  musician 
and  music  lover. 

Of  special  interest  to  the  studious  piano  maker  are  the  cata- 
logues of  old  instruments  collected  by  Morris  Steinert  of  New 
Haven  and  Paul  de  Wit  of  Leipsic.  ''  M.  Steinert 's  Collection  of 
Keyed  and  Stringed  Instruments  "  is  the  title  of  a  book  published 
by  Charles  F.  Tretbar,  Steinway  Hall,  New  York.  It  contains  ex- 
cellent illustrations  of  the  clavichords,  spinets,  harpsichords  and 
claviers  which  Steinert  has  discovered  in  his  searches  covering  a 
period  of  40  years.  The  illustrations  are  supplemented  by  a  mi- 
nute description  of  each  instrument.  A  concise  history  of  the 
development  of  the  piano  and  illustrations  with  explanatory  text 
of  Steinert 's  collection  of  violins,  etc.,  complete  the  volume. 

In  "  Reminiscences  of  Morris  Steinert,"  compiled  by  Jane 
Martin,  G.  P.  Putnam's  Sons,  New  York,  1900,  Steinert  gives  in- 
teresting and  amusing  accounts  of  his  experiences  hunting  old 
instruments  in  America  and  foreign  countries.  Steinert,  a  gifted 
and  many-sided  musician  by  profession,  became  a  dealer  in  musical 
instruments,  especially  pianos,  and  founded  the  great  house  of  M. 
Steinert  &  Sons,  with  headquarters  at  Boston  and  branch  stores 
in  leading  cities  of  New  England.  The  tirm  also  controls  the 
Hume  and  the  Jewett  piano  factories. 

The  "  Katalog  des  Musikhistorischen  Museums  von  Paul  de 
Wit,  Leipsic,"  published  by  Paul  de  Wit,  1904,  is  the  most  com- 
plete compendium  in  existence,  describing  old  instruments  of  all 
kinds,  their  origin  and  makers.  Although  this  catalogue  is  profusely 
illustrated,  De  Wit  published  in  addition  a  most  artistic  album, 
"  Perl  en  aus  der  Instrumenten   Sammlung,"  von  Paul  de  Wit, 


Morris  Stcinert  at  the  Clavichord 


it 


> 


428  riAXOS  AND  TIIKIIJ   MAKKKS 

Leipsie,  1892.  'Tliis  ;ill)iiin  contain  Hi  illiisti'ations  printed  iu  col- 
ors, eacli  plate  a  master  work  of  the  ('()lor-])yinter's  art.  For  the 
eonnoisseiir,  tliis  allmni  is  a  desirable  and  valuable  addition  to  the 
libraiy. 

J*aiil  lie  W'il  lias  ilevoted  his  lii'e  to  advance  the  interests  of  the 
].inTi(i  indusli-y.  A  sketch  of  his  career  is,  therefore,  only  an 
ackiiiiwlcdnnient  of  liis  valuable  services.  Born  at  Maastricht, 
Holland,  on  ,lannai>  4,  1852,  de  Wit  studied  the  cello  under 
.Ma>-ail  at  the  conservatory  of  Luettich  and  showed  decided 
talent.  His  parents  objected  to  an  artistic  career  and  forced  the 
youiiii'  man  to  conduct  a  wholesale  wine  business  at  Aachen.  Since 
the  cello  had  a  nmcli  more  magnetic  attraction  for  him  than  wine, 
he  (lid  not  make  a  success  of  the  wine  business,  and  sold  his  inter- 
est in  1S7S.  He  went  to  Leii)sic  and  became  connected  with  the 
mu.^ic  jiublislier,  C.  F.  Kalmt,  where  he  made  the  accpiaintance  of 
Liszt,  von  Billow,  Carl  Riedel,  etc.,  and  also  the  versatile  Oscar 
Laffert.  in  partnership  with  the  latter,  he  started  in  1880  ''  Die 
Zeitschrift  fiir  Instrumentenbau,"  a  dignified  journal,  devoted  to 
the  interests  of  the  music  trades  of  Germany.  Laffert  retired  in 
188G,  and  de  Wit  became  sole  ])roprietor  of  the  i)ublication,  which 
to-day  ranks  amono-  fho  most  influential  of  trade  journals  in  Ger- 
many and  circulates  in  all  civilized  countries. 

An  artist,  enthusiast  and  born  collector,  de  Wit  was  not  satis- 
lic<l  with  his  success  as  an  editor  and  publisher,  but  set  to  work 
collecting  ancient  instruments  of  all  kinds.  He  started  a  work- 
shop with  TTei'niann  Seyffarth,  tli<'  welhknown  rei)airer  of  violins 
and  other  musical  instruments,  in  charge.  Seyffai'th  rejuvenated 
the  battered  relics  which  de  Wit  had  discovered  during  his  travels, 
in  storehouses,  barns,  garrets  and  cellars.  De  Wit  virtually 
seai'clied  the  Continent  for  old  instruments,  and  many  valuable 
discoveries  stand  to  his  credit.  Whenever  he  heard  that  an  old 
spinet,  violin,  bass  drum  or  flute  had  been  unearthed  somewhere, 


LITERATURE  ON  THE  PIANOFORTE  429 

de  Wit  would  take  the  next  train,  no  matter  how  great  the  dis- 
tance or  expense,  to  satisfy  himself  whether  the  relic  was  worthy 
of  a  place  in  his  collection.  As  a  result  he  assembled  three  col- 
lections, which  are  unrivaled.  His  first,  containing  4-50  instru- 
ments, was  bought  in  1889  by  the  Government  of  Prussia  for  the 
Academy  at  Berlin.  It  was  supplemented  in  1891  by  an  addition 
of  the  grand  piano  used  by  Johann  Sebastian  Bach.  His  second 
collection  of  nearly  1,200  instruments  was  bought  by  Wilhelm 
Heyer  of  Cologne,  who  erected  a  special  building  to  house  his 
gems. 

The  industry  owes  t^  de  Wit  and  Steinert  a  debt  of  gratitude 
for  their  unselfish  labors  in  bringing  to  light  the  works  of  the 
old  masters.  Their  efforts  to  again  create  a  taste  for  the  enchant- 
ing tone  quality  of  the  clavichord  will  bear  fruit,  by  inducing  the 
piano  constructor  of  the  future  to  search  for  a  more  pronounced 
combination  of  the  liquid  with  the  powerful  tone  than  we  find  in 
the  piano  of  the  present. 

Notable  collections  of  ancient  instruments  are  also  to  be  found 
at  the  South  Kensington  Museum  at  London,  in  the  Germanische 
Museum  at  Nuremberg,  and  in  the  Metropolitan  Museum  of  Art, 
New  York,  which  latter  has  a  genuine  Christofori  piano  e  forte. 
The  most  complete  of  all,  however,  is  the  unexcelled  collection  of 
Wilhelm  Heyer  at  Cologne. 


PART  FIVE 

CHAPTER  IV 

Conclusions. 


PART   FIVE 

CHAPTER  IV 
CONCLUSIONS 

ORIGINATING  in  Italy  during  the  inspiring  period  of  the 
Renaissance  as  a  strictly  art  product,  a  musical  instru- 
ment whose  outer  form  was  designed  by  architects,  deco- 
rated and  embellished  by  painters  and  sculptors,  the  piano  received 
its  first  development  in  strength  and  fullness  of  tone  under  the 
hands  of  the  Teutonic  master  builders  of  Austria  and  German5^ 
The  latter  brought  it  to  England,  where  the  Anglo-Saxon  imprint 
was  impressed  by  the  first  efforts  of  manufacturing  pianos,  call- 
ing factory  organization  and  machinery  to  its  aid.  This  Angliciz- 
ing was  furthermore  marked  by  the  invention  of  a  more  forceful 
action. 

After  this  the  piano  was  taken  in  hand  by  Paris  builders,  who, 
in  harmony  with  the  French  taste,  took  oif  the  rough  edges  of  the 
English  construction  and  went  back  to  the  more  dainty  Italian 
design  of  case,  and  invented  actions  which  permitted  of  a  more 
delicate  execution.  However,  the  French  builders  did  not  quite 
follow  the  djTiamical  assault  of  the  new  school  of  music,  which 
demanded  more  tone  power  to  fill  large  concert  halls,  and  America 
took  the  field  with  its  full  iron  frame,  enlarged  scales  and  heavy 
hammers.  Germany  was  first  to  adopt  this  innovation  from  Amer- 
ica and  again  took  the  lead  in  Europe. 

433 


434  PTAXOS  AXl)  TTTKIIJ   MAKERS 

These  various;  scliools  can  l)o  traced  most  distinctly  from  tlicir 
IjOginnini?  to  llic  time  when  tlicy  i-cacluMl  tlic  p(»int  of  liii;iiest  de- 
velopment and  wore  snperscMlcd  by  aiiotlicr  school.  Italy  I'eaclied 
its  lu'ij^lil  with  ( 'hristot'oi'i  in  17i'(),  ;iii(l  has  never  sineo  ])een  a 
factor.  (Iennaii\-  todk  hold  of  Italy's  heritage,  and  the  (ierinan 
scliool  iirospei-eil  ri'(Mii  17l!ii  lo  ahout  ISOO,  when  England  ste])ped 
in,  wrested  the  lanrels  iVoiii  (lei-iiiany  and  developed  its  manimotli 
factories  from  1800  to  almiit  18G0,  f'laiice  In  the  meantime  (1803- 
1855)  became  the  snccessfnl  rival  of  England  hecausc  of  more 
artistic  designs  and  relined  tone  (pialities.  After  1855,  however, 
l)otli  JMigland  and  Erance  were  ont-classed  hy  America,  wliich  has 
hern  ahle  to  maintain  its  supremacy  ever  since.  Germany,  hav- 
ing ni(»re  or  less  rested  nj^on  its  laurels  np  to  1855,  took  the  cue 
lioiii  America  and  after  18(50  out-rivaled  England  and  France  in 
the  pi'tnluction  of  pianos. 

A\'liile  no  accurate  statistics  are  obtainable,  a  reasonable  esti- 
mate id  the  nnmber  of  ])ianos  produced  in  the  various  countries, 
based  <in  careful  com])utations  made  by  manufacturers  of  ]uano 
su])i)lies,  indicates  the  following  annual  production  at  the  present 
time : 


America    .150,000 

Geiniany    170,000 

England    75,000 

i*'iance ; 25,000 

Austria   and  Switzerland 12,000 

ivussia   10,000 

Xetherlands   and   Scandinavia 4,000 

^pJiiii   2,500 

Italy 1^500 

Grand   Total 650,000 


CONCLUSIONS  435 

The  piano  born  in  Italy  rcniiiirod  Teutonic  force  for  develop- 
ment, French  taste  for  refinement,  English  matter-of-fact  indus- 
trialism and  commercialism  for  better  introduction  and  finally 
American  enter})rise  and  wealth  for  general  adoption  as  an  indis- 
pensable part  of  home  furnisliing.  The  history  of  the  ])iano  shows 
that  in  its  present-day  finality  it  represents  the  activity  of  many 
minds  in  the  constructive,  artistic,  industrial  and  connnercial 
fields.  The  industry  has  now  reached  a  })oint  wdiere  the  genius 
of  the  born  organizer  on  modern  lines  will  be  next  heard  from 
in  any  further  progress.  (Combinations  of  large  firms  are  in- 
evitable. Competition  forces  greater  economies  in  production  as 
well  as  distribution.  America  is  leading  in  the  new  movement, 
and  will  adopt  it  more  generally  than  any  of  the  other  nations, 
because  nowhere  is  a  general  standardization  so  crying  a  necessity 
as  in  the  United  States.  The  product  has  to  be  standardized  to 
bring  the  business  of  distribution  out  of  its  slough  of  disreputable 
tactics  and  practices.  This  standardization  was  the  aim  of  the 
American  trust  movements  of  1892-99,  While  these  attempts 
were  premature,  the  correctness  of  the  underlying  philosophy  has 
been  proven  by  the  subsequent  successful  amalgamation  of  large 
concerns  into  harmonious  entities. 

When  we  search  for  the  cause  or  reason  why  the  piano  industry 
has  been  so  slow  in  developing  along  commercial  and  industrial 
lines,  in  comparison  w^ith  other  leading  industries,  we  find  it  in 
the  fact  that  nearly  all  the  founders  of  successful  firms  were  gradu- 
ates of  the  cabinetmaker's  work-bench.  They  were  primarily 
mechanics  with  a  strong  inclination  to  the  artistic,  both  of  which 
cpialities  are  the  antithesis  of  industrialism  and  commercialism. 
Their  very  occupation  of  designing  pianos,  inventing  improve- 
ments, dreaming  of  tone  quality,  etc.,  totally  unfitted  them  for  the 
cold,  exact  calculation  of  the  economic  factory  organizer  and  the 
liberal  distributor  of  the  finished  product,  not  to  mention  the  rea- 


436  riAXOS  AXI)  TIlKlli*   MAKEKS 

soninfi:  of  the  fiiiaiicici-,  wIki  never  lias  an  eye  for  anything  else  but 
cold  figiii'es  and  alui'hi";"*"  rchn-l  i(»ns. 

We  lliid,  therefore,  that  I'lnghuid,  where  commercial  tactics 
dominated  when  the  piaiKt  ai)))eare(l  thei'c,  was  the  fii'st  of  the 
nations  to  inannfarture  tiieni  in  large  numbers.  The  P^nglish 
knew  how  to  sell  and  liow  to  disti'ibnte  them  after  they  were  made. 
The  astonisiiing  growth  in  America  came  when  the  kings  of  mer- 
chandising in  the  piano  business  became  manufacturers  and  sup- 
j)leniented  tiie  factory  metliods,  started  in  Kngland,  with  the 
science  of  wholesale  distiibution.  it  must  not  be  overlooked  here 
that  tlie  ]>iano  industry  in  all  countries,  with  exce])tion  of  England, 
has  always  sutfei-ed  as  a  wlioh'  from  hick  of  suflicient  working 
capital  In  Germany,  France  and  America  cai)ital  was  never 
attracted  to  the  ])iano  industiy,  sim])ly  because  it  lacked  a  solid 
fonndation  and  ai)parently  had  no  stabiHty.  In  many  instances  a 
business  of  magnitude  would  die  with  the  death  of  its  founder, 
because  its  main  asset  was  the  name  and  the  individuality  of  its 
owner. 

When  we  analyze  the  characters  ol'  all  the  leaders  in  this  in- 
dustry, trom  its  beginning  to  the  i)resent  day, — barring  a  few 
notable  exceptions  of  latter  days, — we  find  that  all  were  excep- 
tionally strong  men  who  had  to  fight  their  way  from  poverty  and 
misery  by  sheer  will-power,  supported  by  decided  talent  or  genius. 
Nearly  all  of  them  were  without  early  education.  They  had  to 
])ick  u|)  whatever  they  acquired  in  knowledge  in  their  s])are  hours, 
and  we  must  admire  these  men  tor  their  great  acconii)lishments, 
con>idering  the  conditions  undei-  which  they  worked.  Even  their 
lietty  jealousies  must  be  i)ardone(l.  If  we  look  back  to  the  days 
in  which  they  lived,  we  need  not  wonder  that  Pleyel  and  Broad- 
wood  were  intimate  friends  and  made  front  against  Erard,  nor 
that  ('bickering  opposed  the  overstrung  system  for  years  because 
Steinway  advocated  it.    All  of  these  men  thought  more  of  their 


CONCLUSIONS  437 

instruments,  the  children  of  their  brain,  than  of  making  profits  on 
broad  lines  of  industrial  and  eommereial  development. 

Modern  organization,  to  be  sncoessful  in  the  ])iano  industry, 
requires  a  division  of  labor  and  duties,  which  will  enable  the  con- 
structor to  follow  his  thoughts  irrespective  of  factory,  selling,  or 
financial  conditions  and  re(|uirements.  Indeed,  the  managers  of 
each  of  these  departments  must  be  adepts  and  experts  in  their 
particular  calling,  and  nuist  be  so  situated  that  they  can  work  out 
their  plans  on  the  basis  which  their  coadjutors  furnish  from  their 
respective  dei)artments.  We  have  now  establishments  which  turn 
out  30,000  instruments  per  year  under  one  management.  The  time 
is  not  far  off  when  we  shall  see  organizations  whose  output  will 
surpass  100,000  pianos  per  year,  and  those  large  organizations  will 
set  the  pace,  will  create  the  standard,  which  every  competitor  must 
follow. 

The  piano  factory  of  the  future  has  not  even  been  sketched  out 
as  yet,  but  it  will  come,  just  as  the  town  of  Gary  has  been  built 
for  the  steel  industry.  The  laws  of  evolution  are  at  work  in  the 
piano  industry  as  strongly  as  elsewhere,  and  the  avoidable  eco- 
nomic waste,  the  trifling  away  of  fortunes  in  the  present  cumber- 
some, unscientific  way  of  making  pianos  and  much  more  so  in  the 
kindergarten  methods  of  distributing  the  products, — methods 
which  often  make  the  cost  of  selling  larger  than  the  cost  of  pro- 
duction,— must  come  to  an  end  for  the  good  of  everybody  con- 
nected with  the  industry.  Some  of  the  money  saved  by  such  mod- 
ern methods  should  be  expended  for  the  support  of  high-grade 
trade  schools,  where  the  art  of  piano  making  would  be  taught,  and 
part  of  the  increased  profits  coming  from  the  economic  savings 
should  go  to  a  labor  ]iension  fund,  in  order  to  attract  to  the  indus- 
try the  best  class  of  wage-workers  obtainable. 

Even  when,  by  proper  factory  organization,  the  piano  shall 
come  to  the  level  of  an  every-day  commodity,  it  will,  after  all, 


43S  PlAXoS  AND  TITF.IT;  ^FAKERS 

romain  an  ari  ].r(.<1iict:  aii<l,  sinr-o  wo  ran  form  no  ron('0])tio]i  as 
to  its  riiilluT  (lc\('l()iini('iit,  lalt'iitiMl  youii.n'  men  iiiusl  he  brought 
into  lilt'  ficl<l  to  contiiiuallN  inject  that  xiuor  and  cnlcrprisc  wliich 
is  iiicli>i)(.'ii>al)k'  lo  inogii'ss.  A(lt'(|iiat('  ('oini)ensatioii  and  assnr- 
aiioo  of  a  ('onijx'tcncy  foi-  old  age  are  the  only  means  of  attracting 
aliilit>  and  energy. 

The  piano  linhisti-}'  sliould  he  as  attractive  as  any  to  the  yonng 
iiiaii  ,,r  lo  (l;iy.  All  we  lack  is  |)i-()|.ei'  training  schools,  which  may 
easilv  he  sni)plied  li\  donations  fi'oni  the  leading  niannl'actnrers 
of  each  nation,  riei'many  is  making  an  etTort  in  that  dii-ection, 
and  Mil- land,  fiance  and  America  ought  not  to  delay  the  founda- 
tion (if  >nch  schools.  The  day  of  the  ai)prentice  has  i)assed  for- 
ever, we  know  how  to  impart  to  a  ])ro])erly  schooled  young  man 
more  knowledge  of  a  craft  in  one  year  than  he  could  ac(piire,  under 
t1ie  ai)])rentice  system,  in  five  years.  The  university  for  the 
physician  and  lawyer,  the  college  for  the  farmer,  must  l)e  sup- 
plciiiciited  1)\  the  college  for  the  craftsman,  so  that  he  may  ])er- 
fect  hiiiisclf  in  his  chosen  profession  after  he  leaves  the  manual 
li'aining  school. 

While  foi-  tlie  ]^ast  100  years  all  the  efforts  of  inventors  and 
l)iano  constructors  had  lait  one  aim — to  augment  the  tone  of  the 
jiiano — the  labors  of  de  Wit,  Steinert  and  Dolmetsch.in  creating  an 
interest  in  the  cla\ichords,  furthermore  the  tenacity  of  the  Vienna 
and  !•' reach  schools  in  clinging  to  the  more  liinj)i(l  though  smaller 
tone,  are  arousing  the  interest  of  piano  constructors  to  seek  for 
inoi'e  >oniriil.  exi)ressive  tone  quality,  without,  however,  curtailing 
tlie  earr\Ing  capacity — a  problem,  no  doubt,  very  difficult  to  solve, 
hut,  therefore,  so  much  more  inviting  to  the  thinking  piano 
maker. 

The  factory  manager,  the  sales  manager  and  the  financial  di- 
rector will  have  problems  continually  looming  up  before  them,  to 


CONCLUSIONS  439 

solve  wliicli  a  clear  understanding  of  tlie  past  lii story,  the  present 
conditions  and  the  trend  of  events  in  the  near  future  becomes  im- 
perative. If  this  book  shall  serve  as  a  guide  and  inspiration  to  the 
younger  element  in  the  various  branches  of  our  art  and  craft,  it 
will  have  fulfilled  its  intended  mission. 


APPENDIX 

List  of  Firms  Manufacturing  Pianos  and  Supplies  at  the  Present 

Time 


APPENDIX 

List  of  Firms  Manufaeluring-  Pianos  and  Supplies  at  the  Present 

Time 

ITALY 

PIANO  ]\IANUFACTURERS 


Griffini  &   Co.,  R Established 

C'oppi,     Fedf  lic'O 

lliek,    GiuscpjK' 

Lachin,    Niculu 

Berzioli,    Fratelli 

Aginonino.     Giacinto " 

Berra,    Ing.   C'esare " 

Colombo,    Federico " 

Fea,    Fratelli 

Fea,    Giovanni " 

Fonioris,    Frattdli " 

Lacchio    &    Co " 

]\Iigliauo    &    Borello " 

Mola,   Cav.   Giuseppe " 

Olivotto.   B 

Pcrotti,    Cav.    Carlo " 

Quartero,   Vittorio   Felice " 

Roeseler    Cav.    Carlo " 

Savi  &  Co.,  Rod 


Milano 

Napoli 

a 

1830  Padua 

1836  Parma 

1850  Turin 

1850  " 

i( 

1900  " 

1880  " 

(( 

le 

i( 

1862  '.     " 

1870 " 

ii 

*  ce 

1905 " 


GERMANY 


PIANO  MANUFACTURERS 


Kilger,    Eduard Established 

Haegele,    Heinrich 

Gebauer,  Jr.,  Gg.  Dietr 

IMaass.  W 

Moller,  Ernst 

Dittnier.   A 

Neupert.    J.    C 

Ibach   Solm.  Rud 

Lehmann.    Arthur 

Steingriiber   &    Srdine 

Andrit    &    Co..    Robert 

Anghdfer's    Pianofabrik 

Bartel  &  Co..  Ernst 

Barthol.    R 

Bechstein.    C 

Beei-    &    Co 

Becker,    Aloys 

Biese,    W 

Blasendorff.    Carl 

Bdger   &    Sohn,   Wilh 

443 


Aachen 

1846   Aalen 

1810   Alsfeld 

1891    Altona 

1819    " 

Anklam 

1868    Bamberg 

1  "94    Barmen 

1898    

1852  Bayreuth 

Berlin 

C( 

« 

1871 " 

1853  « 

(( 

, i( 

1851  '  .  .  " 

1898  " 

18G0  " 


444  APPENDIX 

BoT-i    iS:    Voifjt Establislvecl  1005    Berlin 

B.'.m-eki',    lltMiiianii "  190«    

HoikL-i.l.ayon,    -M "^  1892    ^| 

BraiuU's.    Kricli ~  

(.'oinpaLniii'   I'onconlia "  1869    

Dassfl.    Any l'^-i9    ^^ 

Di.nadoiii   &    Pohl "  !««<>    

Dn.ver  &  Co..  Max "  l^'"!    " 

Di.vsrn,  I.  1 "  l«'i*>    " 

K.k...    Carl ::  1H73    '; 

Eininor.    Williclin 

l"ii;;flinaiiii    ^:    (iiintluMiiiann 

lMil)lii>iiic'   

Kxc«'lsior  Pianofabrik "  

Felin  &  Co..  A "  1903 

Felseliow.    A "  l"^^"' 

Kn'llilicli   &    Kfiiiinlcr 


1SS8 
1906 


Gawi'iiila.    Franz "  1^88 

Geil   &    Co..    Fri(Hl<Ticli "  HH)4 

Gicse.    Rciiickc    <.^-    <  '<> "  1888 

Giirs    &     Kalliuanii "  1877 

Gc-izi-  &  Co "  isr.fi 

Gral.au.  .M ■ "  1880 

Grand  Xachf.,  A "  1869 

Gii.l...    M.M-it/. "  1886 

Ciintli.T.    Otto "  

(Hiiitlicr.     i;..l)('rt "  1880 

llaliiiianii.    Ciistav "  1884 

llauckc.   Carl "  1890 

llaiiii.-.    I'aul "  1861 

llan.sfn.  11 "  1871 

liarmonie    "  

Hartmaiin.  W "  1839 

Ilaiix-liul/..   .lul "  

ll.'i<lri(li.    Ilcrmaiin "  1881 

lleilbrunn   Sr.lmc.    K "  1875 

Iloinkc    Carl "  

ll.'dk.-.    Willi "'  1890 

liciiidcrir.    A "  1892 

llcpperlf.  Otto "  1872 

lli-vs...    K.    II "  1872 

liiil{.':irtncr.    Ilcinricli "  1901 

llilsc.    C "  

lliise    Xaclif..    W "  1876 

Ilinkf.    Alfred "  1!)()I 

liint/e.    Carl    H '•  

il..liiic    cV;    S(dl "  1885 

liotrniaiiii     I'ianos ''  

liodd"    &     Co "  1873 

Horn,    Alfred "  1905 

.(anou skv.  .M "  


.Jaseliinsky,  A "  1880 

Kcwitseli.    Joliannos "  1878 

Klinies.    Schwitalla    &    Co "  1905 

Klin;;iiiann  &  Co.,  G "  1869 

Kn.'ichel.    Ad "  1876 

Koeh    &    Co..    Ernst "  1896 

Krauso.  Conrad "  1868 

Krau.se.    Hermann "  1S60 

Krause   &    Dress   "  


Krengcl  &   Co.,  H «  1906 


APPENDIX 


445 


Kriebel,  IT Establislicd 

Kiilila.    Frit/ 

Kulil    &    Klatt 

I^jiiiiiiu'iliirt,    Emil " 

Laiij^fritz.     I " 

Lehiiianii    cV    Co.,    Adolf " 

Laiirinat  &  Co " 

Lonz.  A 

Liodcke,    \V 

Linke,  Godenscliwogor  &   Co " 

List,  Ernst 

Lubitz,  II " 

Liidcckc,    M 

Maclialct,  T 

Maiitlipv,    Ford 

Rlaniuardt    &    Co.,    Otto 

ilatz  &  Co.,  H 

Menzel,  Willielin 

ileyer,    Ricliard " 

Mobes   &    Co " 

Mors    &    Co..    L 

Miiller,  :\Ia.\ 

Nesener  &   Segcrt " 

Neufeind,   R 

Neunipver,  Ernst " 

Neuftdd,  L 

Neugebauer   Naclif .,    C " 

Neunieyer,  ^lax " 

Neiiincver,   Cebr " 

Niebcr'  &    Co.,    A " 

Noeske    &    Co 

Opperniann,  Albert " 

Otto,  Carol 

Paul    &    Co.,    Ernst 

Paul    &    Co 

Peclnnnnn  &   Co " 

Pfaffo.    Julius 

Pfeiller,    ,J 

Pianofabrik    A.    Liiddemann " 

Pianofortefabrik    "  Euterpe  " " 

Ottomar  Fiedler 

"  Opera  "     

W.    Hoffmann 

Plosch   &   Co 

PHschel,   A 

Quaiult,    C.    J 

Ivoesener,   F " 

Sebiemann   &    Madsen " 

Scbiller,   J 

Scbleip,   Benedictus " 

Sclimeckel    &    Co " 

Schmidt,  L 

Sclimidt.    Rudolf 

Schmidt   &    -John 

Sch;;nlein,    Ernst 

Sclxltz  &  Co.,  Heinrich 

Schiibbe    &    Co " 

Schulz,    W 

Schiitze,    Pleinrich " 

Schiitze    &    Schmidt " 


1S(;;5     Berlin 

IS72    •■ 

a 

1880    " 

1  SS!»    '• 

IS'.JO    " 

1879    '•' 

187()    '• 

187:3    " 

18!)()    

1888    " 

1875    " 

it 

18G2    " 

18(58    " 

]  905    " 

1869    " 

1890    " 

1881    " 

1869    '• 

1869    '•• 

1905    " 

1903    " 

1888    '•' 

1905    

1872    " 

1878   " 

1906   " 

1905    " 

1885    " 

1888    " 

a 

186G   " 

1899    " 

it 

i( 

1860    " 

1880    " 

1886    " 

U 

ic 

1888 " 

t( 

ic 

1854    " 

1839    •• 

1870    •' 

1884    " 

1816   " 

tt 

1865   " 

1887    " 

i( 

1895    " 

1907    " 

1894    " 

1862    " 

1877    " 


44G 


APPENDIX 


Pchwccbton.    O l- 

SeiiU'l    Xiichf.,    Rob 

Si.'w.'rt.   C 

Skilibi',   Max 

Sonuner.    Matliias 

Stfiifi-.    \\  illiflm 

StciiilMT*;  ^^   I'o 

Stocsscl.  (iortb-r  &   Co 

Tpmpo.   IJciiiboKI 

Tiolxc.    i: 

rihri<-li.   W 

Viciliiifj.   IfiKbilpb 

\'it>ritz    &     W'li  HIT 

Wabivii.    Carl 

WcImt.    !•• 

Wcni.T.    K.l 

WosUTmay.r.    Ed 

\\»'sti)lial,    i;.)l)('rt 

\\  ittcnlniri:   cV    Ilcnuaiiii 

Wittier,    Ernst 

Wnblcr    Xadif..    Adolf 

Zalm.    F.    II 

Mann   &    Co..   Tb 

Orotrian.   Stoinweg  Xacbf 

Wccbsung,    '! 

Zcittor   &    Winkolinaun 

I'alvcn.    .Jr..    P 

Ucnult.   Traugott 

Iliittner.  Alfred 

WVIz.-i.    P.   F 

llam-U.   .1.    i; 

I,i]K-ziiiski.     Max 

Arnold.    Karl 

WVrn.'r.    F.    \V 

Boycr-Rabncfidd,    Otto 

Ceroid,     F.  . 

Goetze,   Franz 

Tlagspiel    &    Comp 

Iloll'niann   <S:    Kiibiie 

Kubsp.   Jobann 

Kull).  Jos 

Mannsfeldt    &    Notni 

Miiller.    Clemens   TT 

Pi'iniscb,    Carl 

Rosenkranz,    Ernst 

rilri.b.    TT 

I'rbas.    .Idbann 

I'rbas    &    Ileissbauer 

Vogel.    F.    E 

Woltrranini.     11 

Werner.   Paid 

Ziinnierniann,    f iebr 

Erbe.    J 

I''ingcr.    Alb 

Ceyer    Xacbf.,    Adolpli 

l\hi<;o    &    Tri'ycb'i 

\'n<jel,     Roliert 

Weber    &     Fiiebs 

Weissbrod.    T\ 

Winkelniann    &    Co 

Tetscb   &   May 


^talJlislR•d  185:5    r.erlin 

•  4  •' 

ti  " 

1!)05    " 

(.- " 

1894  " 

190S  " 

1550  " 

lS(i,S  " 

T890  

"  ISSS    " 

1879    " 

"  1902    " 

18()0    " 

1551    " 

I8(i:3  " 

1894  " 

1900  " 

]8():3  

1885  " 

■'  1885  liernburg 

"  1830  Bicdefeld 

''  18.35  P>raunscb\veig 

1S57  

1837  

"  1901  Bremen 

1837  Breslau 

"  lM!)(i  " 

1835  

"  18()5  Brucbsal 

1890  Danzig 

"  1830  Darmstadt 

1845  Dobeln 

1852  Dresden 

1875  " 

1874  '•' 

1851  " 

1899 " 

1874  

1873  " 

1807  " 

1877  

1845  

1797  " 

1870  " 

1894  

1894  

1845  " 

1872  " 

1810  

1904  Leipzig  Mfilkau 

1881  l<:isenaeb 

1887  Eisenberg 

1877  

((  a 

a  it 

1905     

1884     

1908     " 

"  18G7    Emmerich    a.    Rlieiu 


APPENDIX 


U7 


Hansen,    Julius E.stablislied 

riiilipp,   G 

Andr&,    C.    A 

Baklur    IManofortcfahiik 

Philipps  &  Solnie.  J.  1) " 

Welte  &  Solme,  M 

Gliiek,    Carl 

Spacthe,    Willi 

JNlaetzko,    Eduard 

Steek     Piano     t'o 

Ritiniillcr  &   Solm,  W 

Rittor,     ('.     Rich 

Belmken.   Gebr.   N.   &   E.   H 

Busehuiaiiu,   Gustav   Adolf " 

Kohl,   II 

Xeuiuanu,    F.   L 

Rachals  &   Co.,  M.   F 

Schnell.  H 

Stoiinvav    &    Sons , 

Stapel,  'G 

Gertz,    Willi 

Haakp,  Karl 

Holniholz,     Fr 

Rissniann,   C.    C 

Glass  &  Co.,  C.  F 

Kagel,    G.    L 

Uebel    &    Lechleiter 

Sprunok,    Fr 

Glaser,   F 

Weidig.    C 

Xeuliaiis  Soline,   W 

Beckniaiin,   W 

Scheel,    Carl 

Giintlier    &    Soline 

Kaim   &    Solni 

Arnold,    Heinrich 

Rowold   &    Soline,   p]rnst 

Mand.  C 

Prein,     Friedr 

Gebauhr,    C.    J. 

Scliusterius,  C.  A 

Stockfisch,  H 

Adam.    F 

Hain,  Stephan 

Bliithner,   Julius 

Feurich.    Julius " 

Fiedler,    Gustav 

Ffirstcr   &    Co 

Francke  &   Co.,  A.  H 

Irmler,   I.   G 

Kreutzbacli.  Julius " 

Schiinmel  &  Co.,  Willi " 

Schumann.  Carl " 

Stichel,    F 

Zierold,   Gustav 

Freytag.    Andreas " 

Geister    &    Sehwabe " 

Gerstenberger,   J " 

Liehr,    Franz " 

Neumann,    Carl " 

PUtzold,    Gottl 


1S;5S  Flensburg 

1872  Forst 

1S2S  Frankfurt   a.   M. 

1572  

1877  

1833  Freiburg   i.    P,r. 

184:5  Friedberg 

18o!)  Gera 

1802  Gorlitz 

1857  Gotha 

1795  (ioettingen 

1828  Ilalle  a.  S. 

1573  Hamburg 

1805  

1855  

1854  : 

1832  

1872  

1850  

1848  

1873  Hanover 

1S3G  

1851  

1S4()  

1871)  Heilbronn 

1828  

1871  

1839  Hettstedt 

Jena 

1843  " 

1840  Kalkar 

180G     Kassel 

1846  •' 

1819  Kirchheini,  u.  Teck 

1819  

1830  Klein-Umstadt 

1 793  Kleve  a.  Rhein 

1832  Koblenz 

1857  Koln 

1834  Koenigsberg 

18G9  

Kottbus 

1SG4  Krefeld 

1892     

1853  Leipzig 

1851  

1871  

1840  

18G5  

1818  

1874  " 

1885  

1857  

1877  

1SS2  "  • 

1889  Liefniitz 

1871  " 

18G4  

1871  

1897  


448 


APPENDIX 


Schneider.   Albin Kstahli 

Scliii|)|i<'  &   Nfiimiiiin 

.SeiltT.    Kdlianl 

Spoiiiiagi'l,     Kdiiaicl 

Fr.rster.    Au^iust " 

Crasselt    &    Kiihse 

Nieiidoif,    (!el)r 

Pal)st   &    Sclmcidcr 

Si-liarf   &    llauU 

'I  InirnuT.    l-'t-rd 

15riiikmami.    Kiiiilic 

Sv\U:  (iel.r 

H.T.lux.    V 

Mayer   &    Co.,   .) 

Knake,    CJebriider " 

SaiiiMtn    &     Ucimcniann 

I'xd'kli.     Ilcniiaini 

Uejicler   &    Killers 

Koliltiiig.    (iebr 

\ofjel    &    Sohn 

<  (lurtiiis.    Hermann 

Weidij;.    (Icurji; 

Bock    &    llinrichsen " 

Deesz.   Julius 

Hermann.    Alexander 

li.id.    1! 

Sopli    &    Sohn,    F 

Perzina,    (iebr 

Saiiter.    C 

Hoof.    Ludwig 

.Si,.jr,.I.    R 

Wolkenhauer.  f! 

Lindner    Sohn.    I.    1' 

I'restel.    Anton 

hoehow   &    /immerniann '• 

Ackermaiin.    F.  .1 " 

iV.rner  &  Sohn.   F 

Klias,  G 

Gschwind,    I.   G 

liardt,    Carl 

Krau.ss,    E 

Kruinm,    .Faeol) ' 

l.ip])  &    Sohn,  Rich '" 

Miidlcr.    (; 

Malthaes,    Thcodor " 

Orhler,    C 

I'feiller,  Carl  A " 

Saner  &.  Sohn,  I.  P 

Schiedniayer    I'ianofabrik " 

Sehie<linayer    &    Soehne '' 

Schilling,"  Fr " 

Wagner.    Ilerni " 

Kigclbauin  &.  llofl'mann " 

Simon.    L " 

Imln.f  &    Mnckle 

Ketnath.    Friedrieh " 

Ri"'inhildt    Pianofortefabrik " 

Adam.    (Jerhard " 

i'.ieiil.    Job.    lleinr " 

Miiller-Schiedniaycr,    Erwin " 

Pfister,  X ' 


>lu(l  r.to?    Liegnitz 

l«!t7     

lS4it     

lS(i(i     

]  S.j'J     Lijbau 

ISSl     •' 

IS!)?    Luikenwalde 

1!U)5     

1S70    Mannheim 

1S;54     Meissen 

1S7!)    Min(U'n.    W'estfaleu 

1S28    MiiJiliiauscn.   'liiiiringen 

1871     Mfinclien 

182G     

1808    Miinster 

a 

18()G     Xiirdlingen 

ISOi)     Ohh'iihurg 

1790    Osnal)riick 

1828    Plauen 

I'renzhui 

1890     Regensburg 

1,S()9 Rcndsburg 

1S20    Saarbriicken 

18:55     Sangerhausen 

18()7    Schh'swig 

1902 SclinKllln 

1871    Schwerin  i.  M. 

1840     Spaichingen 

1882    Sprottau 

184!)     Stade 

IS.").-}    Stettin 

182.1    Stralsund 

1820    Strassburg 

1900     Strausbcrg 

1882    Stuttgart 

1  S:!0     

IN|  ■)       

1858     

1855     

1870 

1!)0()     " 

18;51     

1857 

1888     " 

1857 

18(i2     

180:5     

185:5     

1  SO!)      " 

1871      

1844     

1907    Torgau 

1880 rim 

1848    Vohrenbach,  Baden 

18:50    Weiden 

1845     Weimar 

1828     Wesel 

1808     Wittgendorf 

1874 Wiirzburg 

1800     


f 


APPENDIX  449 

Fahr.  Albert Establishod  1887  Zeitz 

Geissler,    F ••  1878  

Gerbstiidt.  Oscar •'  1S88  

Hoelling  &  Spangenberg,  C "  

Hupfpr   &    Co "  1874  

Krit'tzseli.  llornmnn "  1847  

JMoronz,    Bruno "  1891  

Schemelli  &  Co.,  R "  1900  


Sdimidt   &    Solui    Xacbf.,   P "  1876    

Doiiath,   Max "  1882   Zittau 


PIANO  SUPPLY  MANUFACTURERS 

Biihl.    W.    G Keys 1894  Barmen 

Burk   &   Bastian "     1905  " 

Kluge,   Hermann "     1876  « 

Aichele  &  Bachmann Iron  Frames Berlin 

Allisath    &    Miiller Hammers 

Bartsch.  A "  " 

Beetz,   H Actions " 


Bellin,   W , Hammers 1890  « 

Bohn  &  Co.,  C Keys 1S71  « 

Berliner  Gussstahl   Fabrik Iron  Frames " 

Bever.  A Hammers " 

Biicbholtz.   Heinricb Keys 1866  « 

Eggersdorfer   Filz   Fabrik Felts • " 

^Yolff    &    Co.,    L Iron  Frames " 

Fulte.  Georg Hammers ■ " 

Gallowsky,    H "  1863  " 

Jacob,   Ernst Actions : " 

Johst,    W Hammers " 

Kaselow.  Hermann "     1900  « 

Klaviaturfabrik    Union Keys " 

Kohler,  Oscar Actions 1883  " 

Langer    &    Co "        1882  " 

Laiirisch.  Ferdinand Hammers " 

Leonhardt,   M "  1896  " 

Leonhardt.  ]\Iax Keys " 

Leonliardt,    Ricliard Hammers " 

Leuscliner.    Carl "  1880  " 

Lexow,    Ad Actions 1854  " 

Loepke,    W Hammers " 

Walter,    Adolf Keys " 

Webrmeier,  Franz Hammers 1876  " 

Weisner,    Gustav Actions 1880  " 

Dittersdorfer    Fils    Fabrik Felts 1881  Dittersdorf 

Kutter,   Alfred   \V Keys Dresden 

Kutter.    E.   G.   Robert " " 

Patzak,   Adalbert Hammers " 

Svbre,   Edmund "  1879  " 

Dornbeim    &    Sobn,    F.    W Keys 1874  Eichfeldt 

Scblessiger,  Herm Soundboards 1853  Gera 

Eicken    &    Co Wire Hagen 

Merckel,  Wilb Hammers 1845  Hamburg 

Weidner,    W Keys " 

Boecker,  Heinr.   Willi Wire Hobenlimburg 

Bongardt  &   Co.,   Gebr "     1832  

Weber   i    Giese "     " 


450  APPEXDTX 

i\issin«r  &   M.lllniann Sn\nulboards Tserlohn 

llysso   &    Co..   Osf.ir. Keys l!Ml.')  LangenlxTg  b.  Gera 

IJcicr,   Ailolf Ihunmers 1894  Leipzig 

I  )ctli!.'fls    &    Co Keys 1 874  

Driver   &    Toppfor Actions 1882  

Floiiiing.     11.     F "        1874  

Matkowilz.    (  ari Ihmiiiurs lOOG  " 

:MorgeiisU'ni   &    Kotradi' Actions 1840  " 

Polrnz    &    l.angc Tlanimors 1899  

'riiirnic.    Carl Sduiidhoards 1843  " 

'iriinkncr.    Hugo Keys 1843  

Wcickcrt.    1.    I) Folts 1847  " 

Custav    Mcnrcr "      1878  Liebenzell 

.Iciit/.sch    &    Co Keys  and  Actions 1882  Liognitz 

Slainniitz.  licnnann Keys 1894  " 

Tliplocke    &    Klugp "     1859  

Scbcrd.'I.    Sicgniund Wire 1889  Markt  Redwitz 

.1  111  ins     ivlinke Pins 1847  Xenenrade 

Scliiirniann    &    HilleclvC "     1879  

l?eck.   C.eorg   Job Wire 1042  Xiirnberg 

Fucbs.    Joli.     Wolfg "     1787  

I'ocblinann.    Moritz "     1850  " 

.Martbans,    Anibrosius lelts 1834  Oscliatz 

Kaiser,  J Pins 1864  Plettenberg 

Scbnlte.    D.    W "     1840  

Wagner,   jun..   W "     

Ziniinerniann.    Paul Keys 1898  Radis 

Stalil    &    Dralitwirk    Roeslau Wire 1832  Roeslau 

Senipert.    Carl Keys Rudolstadt 

Bi'iscb.    I'ranz Hammers 1872  Stuttgart 

Diiscbler,   Friedericb "  ■ " 

Fritz   &    Mayer Actions 1857  " 

Kanbiinser,  G.  &  E 1  Ininniers 1844  " 

Keller   &   Co.,   J Actions 1857  " 

Kocb    &    Co Keys 1879  « 

Pa|M'.    Paul ''     1877  " 

Reiiner.    Louis Hammers  and  Actions.  .  1882  " 

Sebiiullcle    Wwe.   Gg Keys 1846  

Sebiiullele,    W  iibelm ''     1882  " 

WTirner,  (J.    F Hammers 1865  " 

Hunker.  .1.   W Pins 1847  WerdobI 

(iiese.   I.  IL  Rud Wire 1883  Westig 

Crunert,    Emil Keys Zeitz 

KuMuner.   Adolf Actions  and  Hammers.  .  1890  " 

Tisdiendorf,     Franz Keys 1888  " 

'liscbendorf,    Karl ••     " 

ZugeJKir,    Oscar Hammers " 


ENGLAND 

PIANO  :\IAXUFACTURERS 

Ajello  &■  Sons.  G Establisbed  1863  London 

Albion   Pianoforte  Co "  1S71  " 

Allen  &   Gaunter "  ],S94  '•' 

AUisfm    &    Co..   Artlnir "  1840  " 

Allison    &    Sons,   Ralpb "  « 

And)ridge    &    Son.    Henry "  1890  " 

Arnall  &  Co.,  H.  B " "  \ 


APPENDIX  451 

Arnold  &   Co..   J Establislied  1880  London 

Bansall  &   Sons "  1883  

Barni'tt    &    Sons,    Samuol "  1832  

Barber  &  Co "  1892  

Barratt    &    Knl)inson "  1877  

Beadle    &     Langln-in "  

Beekhardt    &    Sons "  

Berry.  Nathaniel "  186G  

Bishop   &    Co.,   Joseph "  1877  

r.rastcd,  IT.   F.   &   R.  A "  

Brinsniead   &    Sons,   John "  1836  

Brinsmead.    E.    G.    S "  " 

British    Piano   ]\Iannfaeturing   Co..  .  .  "  " 

Broadwood   &    Son,   John "  1723  

Brock,   Bernard "  1890  

Brock  &  Vincent "  1897  

Browne.  Justin "'  " 

Burliny   &    :Mansfield "  

Byers,  Walter  Cliarles '■  189G  

Carleton  Piano  Works "  " 

Challen    &    Son "  1804  

Challenger    &    Co.,    George " 

Chappell   &   Co "  1812  

Child,  E " 

Cohen  &  Co.,  Philip "  1893  

Collard  &  CoUard "  1760  

Cons   &   Cons "  1884  

Cramer  &  Co.,  J.   B "  1824  

Danemann    &    Co..    W "  

Dodson,  William "  1867  

Dnnno,   Ellis   &    Hill "  

Duncklev,   William "  1865  

Eavestair  &   Sons "  1823  

Edwards   &    Searle "  

Ellis,   John "  1888  

Empire  Piano  Co "  1892  

Eungblnt.  C.  &  J '*  

Feord.  Garrett "  

Fitzsimmons,    Robert "  1879  

Fleming  &    Barker "  

Forrester,   J "  " 

Fox,   T.   G "  

Gantier,   Jules "  1866  

Gilbert,  Thomas,  John "  1880  

Grantone   Piano  Co "  " 


"o 


Green   &    Savage 1876 


Grover  &  Grover '  1830 

Grover   &    Deare "  1879 

Hardcastle,    J 


Harland,    Alfred.    Joseph "  1879 

Harold    &     Denson "  1883 

Harper,    Thomas    W "  1880 

Harrison.  Thomas "  1890 

Harvey   &    Son,   G "  

Hawkins,  R. 


Healv    &    Richards "  1889 

Hickev  &   Co.,  T.  J "  1901 

Hicks"  &    Son.    Henry "  1845 

Hillier   Piano   &    Organ   Co "  1855 

Hopkinson,   J.   &   J "  1835 

Hulbert    &    Jones "  1883 


.laiiu's  .5^   S..n.   Hi'Uiy 

.hiriftt    &    Cioudge 

.l.-nii    Hi»)s •  •  •  ; 

Kfitli.    Trowse    &    ^o 

Ki-lly  &    Co 

Kill-.'   llios... 

Kii;l|>f<>»  &  *^"" 

l.:,lllli.Tt.    F.    B 

Lawn-mt'    &    <^"o. ■  •  •  • 

l.ittle,  C'liiirlt's  iMhvni 

Livinjl>*t<iiio   &   Cook 

I'.yc'iiri^ouis  Ceorgc 

NicKill    tV    Sons 

MrVay  riano  Mfg.  Co 

MiMiiiigton    Bros 

Mniiiiigton    &    Weston 

.Monri'    &    Moore 

Munt  Bros 

M\inloih.    .Tolm    O 

Monay  &   Co.^ 

I'avne.  T.   &    <J.-^ 

Pimu'll   &    Co..   E.   .T 

I'ligli   &    Son.   Joseph 

PiiM    i^    I'i'l'l 

I'yrk.-.    (  .    11 

Rayncr.    S 

Reed   «S:    Sons.   .1.    N\ 

Reeve    &    Co..    W 

Rcgester  &    Sons 

Rintoul   &   Sons,  John 

Robertson    &    Co 

Rogers  &  Sons 

Ruild    &    Co.,    A 

Russell   &    Co.,  Ceo 

Samson    Tiano    Works 

Sandon    ^    Steedmann 

Seager    Bros 

Shenstone    cV    Son 

Shipniann  &   Shipniaim 

Smith,    .\ndre\v 

Snell.    Harry 

Soul  ha  111.    Cooper 

Speneer   i;    Co.,  John 

Spiller.    Boult    &    Co 

S(|uire.    .Ir..     William 

Sipiire   \    Son.   B. 

Strohmenger    &    St)n.    J... 

Strong  &   Sons.  .Inhn 

Tavlor   &    Co-    A 

Taylor  &    Co..   C    U 

Tncker  &   Co 

Wallis    &    Son,    Joseph 

Watkins.    T.    &    C 

West    (ireen    Biano   Works. 
White.    Broadwood    &    Co. 

Whit.-.    T 

Whiteley.    William 

WilUoeics   &   Co 

\Vi1li>M.  Witton  &  Co 


APPENDIX 


.Estaldished  ISS:" 


1878 
1871 
1874 
1  SCri 

lS-24 

ISOC) 
ISSl 

1878 
1897 
1S7."> 


1858 
is:57 
lS7:i 
1862 


1892 


1895 

18t)8 
1881 

1858 


B 


1837 
1842 


1897 
1877 


1881 
1829 
1835 
1851 
1890 


1848 


1879 
1S!)5 


1900 
1838 


. London 


APPENDIX 


453 


Wonder  Pianoforte  Co I'lsi^ililislicd 

Woods  &   Co..   K.  J 

Wriylit,   W.   A 

Zender  &  Co 

Polilmaiiii   &   Sons,   F 

Hartley   &    Sons,   Stephen 

Sliori',  F 


London 

ISTi)  

1S;52  Halifax 

1857  


PiAXO  sii'i'LV  MAM  F.\(  I  ri;i-:u 


Webster   &    ITcn-sfall Wire 

Brooks.    Limited Keys 

Cassini.    W.    H Haiimiers 

Clark,  K.  W Iv»'ys 

Clark,  John  H.,  &  Co Iron  Frames 

Ueighton,   A Keys 

Finnimore    Bros "     

Gibbs,  B.  A ". 

Goddard.   J.   &   J Lefts  and  Hardware 1842 

Homan   &    Sons Strings 1853 

Kilvert.  J.   Smith Hammers 18(50 

Marshall.   William.   &   Son Materials 1841 


and  Actions LSH) 

LS7S 

1871 

17:54 

1881 

1880 

1895 


Xott  &  Co Actions 18G2 

Paine   &    Sons.   Thos Keys 1865 

Sebright.    T "*    1852 

Shenstone  &   Co "     1870 

Vestev,  R.  F..  &  Son "     LSfiO 

Wallis    &    Son :\Iaterials 1848 

Whitehead,  R.  R.,  &  Bros Felts 

Houghton,   W.   A \\  ire • 

Naisji    Felts 1859 


.Birmingham 
London 


War 


rington 
Wilton 


^ 


FRANCE 


PIANO  MANUFACTURERS 


18:; 


1879 


Anrand    &    Bolil Establi.-,Jied  J 8:50 

Baruth.    Francois   Claude "  

Boudon.   B "  

Manufacture  Marseillaise  de  Pianos.  " 

Klein,    Gaston " 

Klein,    Henri .r^ " 

^Manufacture    des    Pianos    Grillot.  .  .  .  " 

Staub.  J 

Vuillemin-Didion    

Rodolphe   Fils   &   Debain   reunies....  " 

Benard,  Clianip  &  Cie 

Blondel.    Alphonse 

Bord.    A 

Bueher  (Gauss  Fr&res  &  Cie.  Sneers.)  " 

Burgasser  &   Cie 

Carpentier.    J " 

Cocquet    Fils.    Lecm 

Erard    (Blondel    &    Cie.    Succrs.) 

Focke    Freres " 


.  Lvon 


ilarseilles 

. ;\Iontrcuil  sous  Bois 


1848  Nancy 

1840  Xantes 

Xogent   sur   Seine 

1849  Paris 

1839  " 

1840  " 

1848  " 

184G  " 


1805 
1779 
1860 


434  APPENDIX 

Fnuitz.  J.  B.  (Mussanl  &  ("io.  Sneers.) Established  1S52  Paris 

(hivi'iiu.    I.    (i "  1"^-*'  

(ioiittii-re.    JmI "  1"^^"  

Cuillot.    A "  " 

Ik-rz.    Ih-nri "  1S25  " 

Herz.    Neveu   &    Cie "  lS<i:5  || 

Kric^'flstcin    &     Cic "  1831  

l.vjiiifriiiais    Fr'^rcs '  185(3  

lx'\  i'i|iu'  &  '1  lirrsen 


Must4-1    &    Cii' "  18o5 

Oiirv.   Alpluinse ' 

IM.-vcl.   Lyon  .<:   Cic "  1807 

Priivost.  "Jli'iiri "  1850 

Pruvost   Fils,   E.    Viilor "  

Kufh.    J "  

Scliniitt.    FraiK.ois "  


Scliott..    Froros "  1850    " 

Laplaiiclie-Deforge,    C "  1790    Reims 

PIAXO  sriM'IA'  MANUFACTURERS 

Sneietf'    Anonymc Wire ^roiithiliard 

(;ill)crt    Actions Montrcuil  sous  Bois 

Sonuncr    Felt ilouzon 

Voos,  J.J "     

Brees   &    Cic Actions Paris 

Brou.     Edouard Ftdt " 

Ddornic.     F Keys " 

Deloye.    Maurice ""    1850  " 

De    Rolulcn,    C Actions " 

Fortin,    F^uj^enc Felt " 

Gelirlin<>;    &    Cie Actions 1842  " 

Crillct,  P&rc  &   Fils Kevs « 


llerrbur<jer.    .1..    Maison    Scliwandcr .  .  Actions  and  Keys 1844  " 

Kneip,    Louis Hammers 1850  " 

Lanjie,    .fulien Keys " 

Levet,    A Hammers 1800  « 

Martin.     I Actions  and   Ilannncrs.  .  18i)5  " 

Mullcr.   K Keys 1835  « 

Societc  AiKinyiiii'  dr  {•'cutics  fianc-ais.  Felts " 

Truchot    Hammers 1848  " 

Union   Actions  a  ml   Kevs 


Rolle,  Xeveu  &  Succrs.,  E Felts St.   Denis 


SPAIN 

PIANO  MANUFACTURERS 

''""'^"-    -T Estaldished  Barcelona 

Cliarrier  y   Cia    "  1875     " 

Chas-saigne    Fr&ros "            1804  " 

Estela,    Vinda    de    Pedro "  1830     " 

l^stela    y    ('om])u.,    B "  " 

(Jnarro  Hernianos "             1800  " 

Izabal,    Louis "             |s(;o  " 

IzabaL   Paul "             « 

Prin,  :Mallard  y  Cia "  " 


APPENDIX 


455 


Ribalta,    Salvadoi* Established 

Sociodad     Franco-Ilispano-Anu'rieana .  "  1898 

A'idal,   .1 "  187!) 


.  Barcelona 


.MontaiKi.  liijos  dr. 
I'iazza,  Maiuicio.  .  . 
Ten  y  Cia.,  Rodrigo 


1838    :\radrid 

Sevilla 


"  1902    Valencia 

riAXO  Sri'I'LY  MAXL'FACTrKEllS' 
Raynard,   L Actions  and  Keys ....  1897     Barcelona 


BELGIUM 

PIANO  MANUFACTURERS 

Hainan*^.   Fr&res Established  1S40    Binclie 


Berden  &  Cie.,  Frangois . 

Bernard   &    Cie.,    A 

(Jiinther,    J 

Tlanlet,    A 

jNIahillon  &   Cie 

Oor,  J 

Our,    Lucien 

Pley    &    Dahout 

Boone    Fils 

Gevaert.  ^' 

Van    Hyfto,    B 

Van    Hvfte    Freres 

Vits,    Emile 

Renson    Freres 

Derdevn   Freres 


1815  Briissell 

1898  

1845  

1866  


1850 
1907 

1839 
1846 
1835 
1839 
1838 
1857 


.Gent 


Liittich 

1846  Roulers 


NETHERLANDS 


PIANO  MANUFACTURERS 


Allgiiuer  &  Zoon,  J.  J Established  1830 

Cnijpers,    J.    F "  1832 

Rijken   &   Co.,   Ch.   F "  

Mes.  Antoine  A.  A.  Az " 

Rijken   &    de    Lange,    Gebrs " 

Bocage,    Ch " 

Leijser  &  Zoon,  N.  S 


.Amsterdam 
.  Gravenhage 


1874     :\riddelbnrg 

1852    Rotterdam 

Schiedam 

1854    Zutfeu 


SWITZERLAND 


PIANO  MANUFACTURERS 


Schmidt.    A Established  1830 


.Bern 


Burger  &  .Taoobi 

Pianofabrik  Symphonia 


Bieger    &    Co.,    J. 


Ganter  &  Sohn,  J. 

Hlini    &    Co 

Rordorf  &  Co 

Suter,   H 


1872   Biel 


1842     Rorschach 

Ziirich 

1860     " 

1847     " 

1875     " 


430 


APPENDIX 


SCAXDIXAVIA 


PIAXO  :JL\X LFACTlllERS 

Dknmakk 

KliK-rt.  .1.   II Established   lS(i7     .  .  . 


Feluinb.  Einil 

Ciislcr.   A.   11 

llci.li'iiianii.    11.    r 

lliiulsiHTjr.  II.  T.  r... . 
lloriuiiiy  &   -Moller.  .  .  . 

Jenst'ii.    Sorcn 

Kofod    &    Co 

Laiidsrliultz.   (' 

Larson  &   Sun,  J 

Lcndorf.  O.scar 

Mfiit/liT.    W 

IVUtsimi  &   8()n.   Ilcnn. 
Schoii.    T.    C 


X. 


Wedell   &   Aberg,    C. 


Sweden 
A.  G.  Ralins  Piano  Fabrik. 

Pianofabrikon  Standard 

Ostlind   &    AIuKpiist 

Ililllicrjis     I'iaiin-  l-'alnik 

Lillinark.    J 

ilalmsji),   J.   G 

llajrdaiil.    .r 

Xystri'mis.    J.    1' 

llansson,    D 

Ekstriini    &    Compis 

Lofiiiark    &    II airland 

(lustafson   &    l.jiiiKiuist 

J5er;,'(|uist    &    Xilsson 

Engstnini  &   Johanesson .  .  .  . 

Km  nek. 'I    i^-    Co..    F 

Ibillniaiiii.  Aug 

LoflxM-g  &    Go 

X'orbcrgs     Pianofabrik 

Pcttcrssmi.    .Idbii 

itapp.    E 

Svalmtpiist,  jun.,  C 

Winkrantz,    Fr 


XORWAY 

Knudsen,    Jacob. 
Hals,    Brodrcne. 


1S72 
1871) 


.  Kopenhagen 


1S5:} 
1827 
189.3 

IS  65 
1S.5.J 


1854 


1881 


1SS5  Amal 

1004  Arvika 

1888  

I8(is  Goteborg 

l!)(»:i  

1843  

Karlskrona 

1805     Karlstad 

1854    Lund 

183(5     Malmo 

1899     « 

Xorrk(>|)ing 

Stockholm 


1889 


1899 


189(1 


Bergen 

1847     Christiania 


RUSSIA 


PIAXO  :\rAX['FA('TrPvERS 


Hollas,    Osakeytio Established  1901  Helsino-fors 

•,V'"'.'"    "  1899  KaHsch 

Ixtting,  Tlioodor "  ],S87  " 

Fibigor,     Arnold "  1878  " 

StrobI,  August «  1  .......'....'..'.'.'.'.'.'.'.'.... .Kiew 


APPENDIX 


457 


Koretzkv.    F.    J I 

Islall   &   Co.,  A 

Ransch,  M 

8choen,    Ad 

Johannsolin.    Th 

Trossolt.     .1 

Weiiil)orji:.   •) 

BocktT.    .1 

Diederit'lis.    debr 

llcriicns    \     'rrniiiofl" 

I>('li]>('iil)('fi^'.    (J 

]Ma\r.    1  Ifiiitaiiii 

]\lu'lill)acli.    F 

OnViibaclii-'r   

Rathke,    11 

Rt'inhard,  A\' 

Ronisch,    Carl 

SeliU'J^iiigcr,  8.  L 

Schmidt.    P 

Schroeder,  C.  ^I 

Smidt    &    Wegener 

8tein.   d.    d 

Eriksou,    M 

Kelirer,    Herinami 

Kopp.    Anton 

Angerhofer.  F 

Diitz,    Anton 

Kerntopf   &    8ohn 

^Malicki,    Julian 

Xowieki,    F.    J 


,t;ihlislH'd  1887  Moskau 

1878  

18.')(;  Odessa 

1843  " 

1855  Riga 

li  ii 

it  it 

1841  St.  Petersburg 

1810  " 

a  <<  << 

1888  " 

1870  "  " 

(C  ie  i< 

1900  " 

1868  " 

1874  " 

1898  " 

ii  n  te 

1880  " 

1818  " 

1880  " 

Saratow 

1872  Tilli.-i 

1887  ■• 

"  Warscliau 

1873  


AUSTRIA 


PIANO  :\L\NUFACTURER 


Albert  &  Co.,  E.  A Established  1868     Aussig 

Rosier,  G 

Protze  &   Co.,  Josef. 

Petrof .    Anton 

Warbinok.  Rudolf  A. 
Baroitius.  Karl  J..  .  . 

Kopeck\'   &    Co 

Novak.  ■  V 

Schnabel.  Ludwig. .  . 
Koch    &    Kor^^elt .  .  .  . 

Proksch,    A 

Spira's  Wwe.,  Carl . 
Bremitz,  Enrico.  .  .  . 
^lagrini   e    Figlio,  L. 

Audreys,    Anton 

Bauniann,    ilax 

Belehradek,  Johann. 
Baumbacli.  Josef.  .  .  . 
Berger.    Ignaz 


Bosendorfer.    Ludwig.  . 
Czapka'.s    Solin,   Jacob. 

Dfirr,    Karl 

D()rsam,    Wilhelm 

Elirbar.    Friedrich 


1878    

B.  Leipa 

1905 

( ipoi*or<\vn  Ir]p 

1864    

KonisTcrJltz 

1906    

Tjaihiioli 

1898    

T'rno- 

o 

.    ..      .                                                                                       *' 

1901    

i( 

tc 

1891    

Reichenberc 

1864    

•,i 

1892    

a 

1874     

Triest 

1870    

a 

Wien 

1870    

ii 

1842    

li 

i< 

1828   

ii 

1842    

it 

1817    

ii 

CC 

1801    

(t 

458  APPF.XDIX 


Fritz.   S(.hn.   J Estalilislu 

Fiiclis,  jiin.,   Franz 

CJossl,    Josef    &    Ailolf 

Hiil.lcr.    .Juli 

llaiiilmrjifr,    (  ail 

lli'itzmaiiu.   Otto " 

llnatay.    Josi-f 

ll(>fl)aiu'r,   (;\istav 

Ilnfiiiaiiii.    l''ri('ilric-li 

Ilotiuaiiii,    Karl 

llr.lzo   &    lli'itzmaiin 

lIoiT.    Mtnitz 

.lirasck.     Fcrdinaiul 

K;irl):ii  li.     I'rii'dricli 

Kliil.al.    Cottlicl) " 

I\rau>.    Ailnir 

Kul.iU,   .losef 

l.aul)i'ij,'cr   ^:    filoss 

Littiiiami,    .l(ili;uiii 

l.yia       

Maliwaiick,    Ilcinricli 

MaviT.     F,<liiai(l 

,MaVcr.    Willii'lin 

.Mayr.   I'  laiiz 

Ni-iiictsclikf.    Joliaim 

Ki'ulmrjitT,    Adolf 

NpiunaviT,  Carl 

Ocscr.  Franz 

Ocscr  &    Soliii.    N'inc-ont 

I'allik  &  Stiasny 

I'arltarfs    l-lidani.   Alois " 

Pawlcck.    jini..    Josof 

I'okoiiiy.    A 

llciidioid.    Itolicrt     F 

Kiciitcr.  Franz 

SchaulM..    Willi 

Scliiiiid,     llciMricli 

Schniid  &   Kunz,    F 

Schneider   &.    NpOV.   Josef " 

Seliweijfliofer's   Siliinc 

Sko]),    Josef 

■Stary,    Joiiann 

Stelzhaninu'r,    Anton 

Stcnzid    &    Sflileniiner 

Stinf^l,     (lehriider 

Wusnifzek,    Ijiiiaz " 

A\iii<!liof(r    W  we.    Itudolf 

Wirtli.    i'ranz " 

Wolek.     Franz " 

Zel)rakou sky,  .loliann " 

Clunel    &     Son " 

Delinial.  Karoly 

I'-der,   Anton    .fulius " 

Ilaviiesek,    Carl 

Ileekenast,    CJustav " 


PIANO  SUPPLY  MAXUFACTUPvERS 

Tiaiser,  Emil TIainmors 1S71    Wien 

Karl,  Jos Keys 1894    " 


.. 

1854  '• 

a 

1874  

c; 

1839  

ii 

1850  " 

iC 

1870  

(C 

1808  

a 

(i 

i( 

1S5G      

cc 

a 

1S98  

tc 

ii 

1900  

a 

1809  " 

1885  " 

ii 

a 

(( 

ii 

a 

1890  "' 

li 

ii 

ii 

ii 

1808  

cc 

1894  

cc 

CC 

1890  

a 

ii 

1870  

ic 

ii 

ISSO  

<( 

18;J9  

1792  

a 

1892  

cc 

1848  

iC 

]S9S  

CC 

1887  

cc 

it 

i< 

1880  

cc 

1878  

cc 

ii 

1835  

1 888      .... 

Budapest 

ii 

lS4(i   

a 

1895  

1805  

cc 

(S 

APPENDIX  459 

Kiiiln,     l-]l)(Mli;ir(l TTanimers 1<S91  Wicn 

Littmuini.     juii.,    Taul Keys 1887  " 

.Miller's   Sohn,   Martin Wire 1782  " 

Mraz,  Franz Keys 1881  " 

Olb^rt.   Franz " " 

Opletat,    Alois "     " 

Picliler.  Johann "     " 

Prohaska.    Franz "     " 

Schmidtmayr,    Rayninnd "     " 


JAP  AX 

PIANO  MANUFACTURERS 

Nippon  Gakki  Siezo  Kabusliiki    K\\  aisha Hammamatsu 

Nishikawa   &   Son Yokohama 


UNITED  STATES 

PIANO  MANUFACTURERS 

California 

Pacific   Piano  Mfg.  Co Established  Pasadena 

Salyer-Baunieister    Co "  1907    Los    Angeles 

Behre,    J.,    e^    Co ''  -: San    Francisco 

Deitemeier    Piano    Co "  1892     '•  " 


Fav,    Robert "  1880 

HoVnung,  C.   C "  1880 

Mauzy,    Byron "  1884 


Connecticut 

Sterling   Co.,   The Established  18G6  Derby 

Huntington    Piano    Co "  1894  Shelton 

Wilcox  &   White   Co.,   The "  1877  :\Ieriden 

]Mathushek   Piano   Co "  18G6  Xew  Haven 

Shoninger,  B.,  Co "  1850  '•• 

Illinois 

Johnson,  Wm.  A.,  Piano  Co Established  1907  : Champaign 

Bauer,  Julius,  &  Co "  1857  Chicago 

Bent,  Geo.  P.,  &  Co "  1870  

Bush  &   Gerts   Piano  Co "  1886  

Cable   Co.,  The "  1880  , 

Cable-Nelson    Piano    Co "  190.3  

Chickering  Bros "  1892  

Clark,  Melville,  Piano  Co "  1900  

Conover    Piano    Co "  1890  

Concord  Co..  The "  1907  

Decker  Bros.  Co "  1907  

Detmer.    Henrv "  1885  

Folev    &    Williams    :\lfg.    Co "  1870  " 

Fueiir  &  Stemmer  Piano  Co "  190.3  " 

Kaiser.    Adolph "  1891  " 

Kimball,  W.  W.,  Co "  1854  " 


189:5 

I'JOS 


4G0  APPF.XniX 

Kin-    Piano    Co Estnl.li^l,..!  100:? Chicago 

Lvon   &    lioaly "  '^"'^  ]] 

\ian|u.-tte   Piano  Co "  l''<'>  

.Mavnanl.   K.  K.,  Piano  Co "  l!>»).j 

.Mi-viT.    Fran/ 

Xeison.    II.    P.,    Co 

Xi'w  niann    Bros.    Co "  l'^'''^  

Pile-  &    Tf.-|)l.'   Piano   Co "  1902  |^ 

ilcfil   &    Sums    Piano   Co "  l'S42  

Ki'iciianlt    Piano   Co ''  

Uotiiscliil.l  &  Co "  

Srhaaf.   A.l  un "  1873  " 

Sc-hat'trcr    I'iaiio   Co "  1873  |j 

Sclicriif.    ]'>..   &   Co "  

Scliniz.    M..    Co "  lS(i»  " 

Setbui}!,   .1.   P..    Piano   Co "  1!)07  

SiiiL'.T    Piano    Co "  1804  

Sinilli.   Haiiifs  &  Strohber  Piano  Co.  "  1SS4  " 

Starck,   P.   A.,   Piano  Co "  

Stp<rcr  &   Sons  Piano  ^U^.   Co "  187!)  

Storv  &   (lark   Piano  Co "  ISO!)  

Stiiuil)c   I'iano  Co "  1878  

WcIkt  &    Sons "  " 

Werner  Piano  Co "  1002  

Ilaniiltnn    Piano   Co "  18S9  Chicago    Heights 

Sevl)ol.l   I'iano  &   Organ  Co "  Elgin 

Swan.    S.    X.,    Co ''  1  !H)7  Freeport 

Pizarro    Piano    Co "  P.tOS  Joliet 

Schiller    Piano    Co "  1S!)3  Oregon 

XatioiKil    Player    Piano    Co "  " 

Standard  Piano  I'laver  Co "  


.Tolinson,  E.   P..   Piano  Co "  1007  Ottawa 

\\rstern   Cottage    I'iano  &   Organ   Co.  "  ISO.")  

Iladdorir    Piano    Co "  IIHIJ  Roekford 

Xy.sewander    Piano    Co "  ■  

Selunnann    Piano  Co "  


Indi.vna 

Knight-BrinkerhofT  Piano  Co Established   1007    Brazil 

Anto    Crand    Piano    Co "  100.)    Connersville 

i'aekard   Co..   The "  1S71     Fort    Wayne 

Seliair   Bros.   Piano  Co "  1  still    Iluntingt^)n 

Cable.    Ilobart    M..    Co "  1000     l.aporte 

Krell- French   Piano  Co "  1S9S    New  Castle 

Chute    c^    lintler "  I'tOl     Peru 

Starr    Piano    Co "  1S72   Rielnnond 

Tryber    Piano   Co "  18S1    Smith   I'.ciid 

low  A 
Bcllevnc    I'iano    Mfg.    Co Establislied    1000     Bellevue 

Ki;.\n  (  KY 
Ihirvard  Piano  Co..  .  .' Established   ISS.)     Dayton 

Maink 
Hughes  &   Son   Piano  Mfg.  Co Established   ISOfi    Foxcroft 

Maryland 

Wm.   Knabe  &   Co Established   183!)     Baltimore 

Chas.    M.   Stieir ••  1842     " 

Ma.ssaciiusetts 

Bonrne.    Wni..   &    Son Established   1 840    Boston 

('bickering  &   Sons "  1823     " 


APPENDIX 


4G1 


Clioraleelo    Mfp;.    Co Estahlishod 

Emerson  I'iano  Co 

Everett    Piano    Co 

Hal  let  ct  Davis  Piano  Co    

11  unit'    Piano    Co " 


Ivors   &    Pond    Piano    Co. 

.Tcwett   Piano   (  o 

Kraft.   Theo.   .)..   \    Co..  . 
]\Iasoii  A:  Hamlin  Co    .  .  .  . 


Mc'Phail.   A.   31.,    Piano   Co 

]\riller,  TIenry  F.,  &  Sons  I'iano  Co. 

National   Piano   Co 

Poole  Piano  Co 


Vose    &    Sons    Piano    Co.. 
Aekotist  Player   Piano  Co. 

Cote    I'iano  ^Ifj^.   Co 

Gilbert   Piano   Co 

Morrisette.    Honore.    Co... 

Trowbridge   Piano   Co 

^^'ebster  Piano  Co 


1849 
1  ss:} 
18;35 
1902 

1  sso 

IS!)9 

I90:i 

1S54 

is;?  7 

IS  03 
1911 
189.3 
1851 
19()() 
1 890 
PJ07 

1888 


.Boston 


Fall   River 


.  .  .  Franklin 
■  Leominster 


New  Hampshire 
Prescott    Piano    Co. 


I8S4     

1908    Grand  Rapids 


Michigan 

Crinnell    Bros Established  1882    D.-troit 

Farrand   Co..   The 

Broekmeier   Piano   Co " 

Manville    &    Sons 

Bush  &  Lane  Piano  Co " 

Chase-Hackley  Piano  Co 

Germain  Piano  Co 

Melin- Winkle    Co 


1901     Holland 

1863     Muskegon 

1895     Saarinaw 

1909   South  Haven 


^llXXESOTA 

Schimmel    &    Co Established  1892   Faribault 

Raudenl)ush,   S.   W.,   Co "  1883     St.    Paul 

Segerstrom  Piano  Mfg.  Co "  1900   Minneapolis 

Wick,  P.   S.,  Co "  188G    North   St.   Paul 


.  Established  18G9   Concord 


New  Jer.sey 

Delabar.    Edw Establi^ 

Laiiter    Co..   The 

Winkler  Piano  Co 

Alleger,    H.    W 

Cornish   Piano   Co " 

Florey  Bros " 


hed  Newark 

18(32     

1875     Trenton 

1869    Washington 

1876    

1909    


New  York 
Boardman  &  Grav Established  1837 


Albanv 


Wegmann   Piano   Co 

Broekport   Piano   Co 

Smith.    Freeborn    G 

Wissner,    O 

Chase  &  Baker  Co 

Kurtzmann.    ('..    &    Co 

Ahlstrom    Piano    Co 

Aeolian    Co.,    The 

Aeolian-Weber   Piano  &   Pianola  Co. 

American    Piano    Co 

Amphion    Co 

Archer  Piano  Co 

Autopiano    Co.,    The 


1882 Auburn 

1S93  Broekport 

1848  Brooklvn 

1878  

1900  Buffalo 

1848  " 

1 S75  Jamestown 

1887  New  York 

1903  " 

1909 .     "        " 

1901  '•' 

1906  "        " 

1903  " 


402  APPENDIX 

T!:i('..ii    Piano    Co Kst:il>li>li('.l  ITsO    Now  York 


Hiiil.-v    I'iiiiK.   .Mfg.   Co ■'  ''"'1 

J{aiiim'i«*tfr.    II "  li^'J-^ 

Hiiv.T  Piano  Co "  1900 

n.-ik.T   IJios "  1002 

H.-liiiin^'    Piano    Co "  ISOl 

IJ.'iir    Pius.   &    Co "  1881 

Bony- Wood    Piano    PlayiT   Co "  

Hi.l.l'l.-    Piano    Co '. "  1801 

Pjur    liios "  1887 

pKcilickcr's  Sons,  ,1.   ]) "  

Ho^'irf.   IMwiti  P..  &  Co "  1899 

Mnj.Mrt.     W  .     I" "  

|{..ll.Tnian    \    Son "  18S0 

Pranil.afli.  Carl.  &   Son "  1910 

HranniulliT   i'iano  Co "  1887 

I'.rm r  \    Co..   C.    A "  — 

iivrii.'.    C.    !•:..    riano    Co "  1802 

Ciilili'  &   Sons "  1852 

Chilton    Piano    Co "  

Cliristnian  Sons "  

Collins  &  Kindlor "  1910 

Connor,    F "  1877 

Davenport  &   Treafv    Piano   Co "  1890 

Dfokcr    &    Sons " "  1850 

1).'    nivas   &    Harris "  1905 

Dol.soM.    K.    S.,   &   Co "  

Doll.   .lacol).   &    Sons "  1871 

Diisinhcrrc   &    Co "  1884 

Kst.'V    Piano   Co "  1885 

Fisclicr.  .(.   iV    C "  1845 

Frodcrifk  riiimi  ('(, "  

Fnrlonjr.  A.   P..   Piano  C'o "  1910 

(Jal.lcr.   Krnost,  &    Pro "  1854 

(Ircvf.    a.    P "  1896 

llardniaii.   Pcfk   &   Co "  1842 

Haines.    W  .    I'..   \    Co ''  1898 

Harrin<,'loii.   K.  (!.,  &   Co "  1880 

Hasl.n.u.k    Piano   Co "  1880 

Ha/.<-llon    IJros "  1840 

Iloin.T    I'iano   Co "  1907 

llouanl.  K.  S..  Co "  1902 

.lacol)    Pros "  1878 

.lames    *    Holmstrom "  1874 

.lansscn.    l:.    II "  1901 

K.-ller.    ll.-nrv,   &    Sons "  1892 

Kelso,  S.   P.." "  

Kelso  &   Co "  1891 

Kindl.M-    &    C(,llins "  PilO 

Kirililioir.    Laurence "  1!»()1 

Kolilrr   &    Cani|)l)ell "  1894 

Krakaner  Pros "  1809 

Krani.h    &     Pacli "  1804 

Kroe^er   Piano  Co "  1852 

Pall'argue    Co..    The "  1890 

Pnw.><on   &   Co "  1900 

Peckerlin;,'  Piano  Co "  1880 

I.eiiis.    K..    Piano   Co "  1SS9 

I.indenian.   Henry  &   S.  G "  18.30 

I.intU-nian  &   Sons  Piano  Co "  1887 

I.oekhvnlt   Piano  Co "  1892 


APPENDIX 


463 


Lockwood  Piano  Co Establi 

Luclwig  &   Co 

]\rac'farlaiio,    Jcilm " 

jManstic'ld  riano  Co " 

Marshall   &   Wendell   Piano   Co 

Matlinslick    &    Son    Piano    Co 

JMehlin.  Paul  (i..  &  Sons 

IMetzke,   O..  &    Son 

Milton    Piano   Co 

Neodliani   Piano   Co " 

Xew  by    &    Evans " 

Ouvrier  Bros " 

Palmer    Piano    Co " 

Pease   Piano   C<3 " 

Peerless   Piano   Player  Co " 

Peters,   W.   F.,   Co..' 

Radle,  F 

Regal   Piano  &    Player  Co 

Relibein    Bros 

Rieca    &    Son 

Rudolf   Piano   Co 

Schencke   Piano   Co 

Schleicher,  Geo.,  &  Sons " 

Schubert   Piano   Co 

Sohnier   &    Co 

Solingen    Piano    Co 

Stadie  &  Son 

Steek,  Geo.,   &   Co " 

Steinway   &    Sons 

Strich  &  Zeidler 

Stroud  Piano   Co 

Stultz   Bros 

Stultz  &  Bauer 

Stultz  &  Co 

Sturz    ]3ros " 

Stuyvesant   Piano   Co " 

Teehnola   Piano   Co " 

Telelectric  Piano  Player  Co " 

Tonk,   Wm.,   &  Bro 

Universal    Piano    Co " 

Valois  &   Williams 

Virgil   Practice   Clavier  Co " 

Walters   Piano  Co 

Warde   Piano   Co 

Waters,  Horace,  &  Co " 

Weber   Piano    Co 

Weser   Bros 

Wheelock  Piano  Co " 

Wing  &  Son 

Winter    &    Co " 

Wright    Piano    Co 

Wissner.    Otto 

Wuertz.    0.    W 

Wurlitzer   ^Nlfg.    Co..   Rudolph " 

Sporer,    Carlson    &    Berry " 

Armstrong   Piano    Co " 

Brewster   Piano   Co " 

Cook  Piano  Co..  J.  B 

Foster    &    Co 

Gibbons    &    Stone " 

Goetzmann   &   Co " 


hod New  York 

1889  " 

1902  " 

1906  " 

((         it 

1871 " 

1889  " 

((        (< 

1892  " 

1846  " 

1882  " 

"        i< 

1906  " 

1844  « 

1889  " 

1902  « 

1898  " 

^  U  it 

( .  « . 

1891  " 

1903  " 

1878 " 

1882  " 

1872  " 

1910  " 

1899  " 

1857  " 

1853  « 

1889  " 

1911  " 

1909  " 

1880  " 

1905  " 

1871  " 

1881  " 

it        li 

1906  "        « 

1881  " 

1908  " 

le  <t 

1889 «        " 

1899  "        " 

1909  " 

1845  « 

1851  « 

1879  " 

1877  " 

1867  "        « 

1900  " 

It        It 

1886  '.  " 

1893  "        " 

1856  North  Tonawanda 

1861  Owego 

Rochester 

w 

1 1 

it 

1821  ...........' 

1905  


^' 


4G4  APPKXDIX 

ITainos    "Bros Kstablishod Rochester 

Ilain.'s  &   (•» ;; Milwaukee 

Marsl.all  &   WVii.lcll   Pinno  Co ^^  — —     

"  ISS!)    St.   Joliiisville 

"  lS(il     Waterloo 


K()|wlt   &    Suns    I'iiiiio   Co 
i:M;;i-llianlt,  F.,  &  Sons 
\nu;;li    I'iano   Co 


1 1  lu-biuT    I'iano    Co •  • Yonkcrs 

Ohio 

Halilwin.    Tlu-,    Co Established  1862    Cincinnati 

Hutler    iiios.    Piano    Co "  1!)10     

Clmnli    Co.,   TliL"   .lolin "  lH5!t     

KIxTsnl..   I'iano  Co "  1010 

Kllin;,'ton   Piano  I'o. 


1S9() 


llarvan!    Piano    Co "  LSSo    

Kn-Ii    Piano    Co..   The "  18S0     

Valh-v  (i.'m  Piano  Co "  1800     

Wnilitwr.   Rudolph,   Co.,  The "  1850    

Havniond   Piano  Co "  1850    Cleveland 

Ci.iiiinhns'l'iano   Co "  1904    Columbus 

Chase,   .\.    P..,  Co "  1875    .Xorwalk 

Pknnsyi.v.vnia 

Lehr,  H.,  &  Co Established  1S!)0    Ea.^ton 

K.-lliner  Piano  Co "  188.3   Ilazleton 

(•nlby    Piano  Co "  1859   Erie 

RIasiiis  &    Sons "  1855    Philadelpliia 

Ciuiniiifihain  Piano  Co "  1801     

Lester    Piano    Co "  1888 

Ocser  Co.,   Fred,  The 

Painter   &   Ewinj? "  18!);] 

Selioniackor    Piano    Co '"  18;58 


« 


l'...nn.tt  Piano  Co..  W".  C "  1000    Warren 

Kleber,  II.,  &   Rro \\  l-'^f  1    Pittsburg 

Weaver  Orf^an  &    Piano  Co "  1870    York 

Van  Dvke  Piano  Mfg.  Co "  1880     Scranton 

Kril.r."  DunlKini    Piano   Co "  1000     


Wisconsin 

Conrad    I'iano    .Mfg.   Co Established  1010  ^lilwaukee 

(;ranil{i(litsteig  I'iano  Co "  1008  

Knil.r     Piano    ("o "  " 

Walthani     I'iano    Co "  1885  

Netzow.    < '.    |-.,    M  fg.    Co "  1885  

Wilson   Piano  Co "  1009  

Miller,   S.   W.,   Piano  Co "  1890 Slieboygan 

PT.\Xn  SrPPT.Y  ^r.\Xtn^\CTT'RERS 

CONNKCTICUT 

Pratt,   Read  &   Co Kej-s  and  \v\ ions 1806    Deep   River 

Conistock.  Cheney  &  Co.,  The "  "  "        Essex 

Cnivcrsal    .Music   Co Music  Rolls 1904     TMeriden 

l)aven|)ort.    .lolin.    Co Iron  Frames 1868     Stamford 

RIake   &    .lolinson Hardware 1849     Waterbury 

Ir.i.iNoi.s 

(iulbransen-Diekinson    Co Player  Actions 1906    Chicago 

Piano  &    Organ   Supply   Co Actions  and  Keys 1871       " 

Schair.  .Fohn  A Strings ' 1889     " 

Oregon    Foundry   &   ilacliine   Co Iron  Frames 1907     Oregon 

Kurtz    Action    Co Actions 1903    Rockford 


APPENDIX  465 

]\lASSACHrSETTS 

Schwamb,   'Mico..   Co Piiino  Cases Arlington 

American    1-Vlt   Co Fflts 1890  Boston 

Faxon.  (Jcd.   H..  Co Hardware IS.K)  

Felters   Co..    1  lu' Felts 1010  " 

Frazier.    Dm    K Mpinniers lS{i()  Cambridge 

Seavcrns  Piano  Action  Co \ctions ISol  

Standard   Action    Co "       ISSO  

Tower.    Sylvester.    Co Keys  and  Actions 1854  

Lockev.   I.  H..  Piano  Case  Co Cases 1  S5()  Leominster 

RicbaVdson    Piano    Case    Co '     1891  

Smitli.    F.   G "     

Wellington    Piano    Case    Co "     1 S95  

Tuner's    Supply  Co..   Tbe Tools ]  S8.)  Somerville 

Simplex   Player  Action  Co Player  Actions ISS.'J  Worcester 

New  IIampsiiike 
Parker    &    Young    Co Soundboards 1857 Lisbon 

New  Jersey 

Abbott  Piano  Action   Co Actions 1858  Fort   Lee 

American   .Musical    Supply   Co Supplies 1S97  Jer.sey  City 

National    Music    String   Co Strings ... .  .  .New    Brunswick 

Celluloid  Piano  Key  Co Keys 187G  New    York 

Looscben    Piano    Case    Co Cases 1885  Paterson 

New  Y'ork 

Phelps,  M.   S..  Mfg.   Co "    1891  Brockport 

Brown   &   Patterson lion  Frames 1801  Brooklyn 

Y'oung.  F.  W.  &  Co Actions 18G8  

Wood  &  Brooks  Co Actions  and  Keys 1901  Buffalo 

Cheney,   A.   C,  Piano  Action   Co Actions 1892  Castleton 

Davis,"  1.    E..    Mfg.    Co Cases 190;?  Cortland 

Breckwoldt.   .Julius,   &   Co Soundboards 1890  Dolgeville 

Ramsey,    (has..    Co Hardware 1897  Kingston 

New  York   Pianoforte  Key  Co Keys 1890  Middletown 

Grubb  &    Kosegarten   Bros Actions 1837  Nassau 

American    Union    String   Co Strings New  Y'ork 

Auto-Pneumatic  Action  Co Player  Actions "        " 

Connorized   Music   Co ^lusic  Rolls "        " 

Courtade.    Jos.    N Cases 1872  " 

Erlandsen.    J Tools 1801  " 

Ooepel.    C.    F.,    &    Co Hardware 1892  " 

Haas,   Henrv,  &    Son "  18(iO  " 

House,  C.  W..  &  Sons Felts VM)->  "        " 

Kapp.    Robt.    L..    Co Hammers 1010  "        " 

Koch.  Rud.  C Strings 1858 ||        ''^ 

Mapes,  Stephen  S "       

N.  Y.  Co-operative  Piano  String  Co..        "       l'^02  

New    York    Piano    Hardware    Co Hardware 190*  

Pfriemer.    Charles Hanuners 1870  || 

Tingue.    Brown   &    Co Felts 1-)01  ^^ 

Ramacciotti.   F Strings 18()/_  ^^ 

Schirnier.    Charles Hardware '  "  "  "  i o-p  »        ., 

Schmidt.  David  H..  &  Co Hammers 18ob  

Schwander    Action    Co Actions l^--»->  |]        "^ 

Staib-Abendschein    Co "       ^^-'^  ^_ 

Standard  Pneumatic  Action  Co Player  Actions — —  

Strauch    Bros Actions 1807  "        " 

Wasle    &    Co ;;       ]^  ]]        ^ 

\Vessell,   Nickel    &    Gross l»'a  


4GG 

Enyilliarilt,    F.,   &.   Sons.. 

Ohio 

Fairhaiik^    Co.,   Ilio 

KellfV,  O.   «.,  Co 

Wiikiiaiu   Piano  Plate  Co. 


APPENDIX 

...Actions   1889    St.   Johiisvilie 


Tnm  Frames 1890     Springfield 

1890    

"       1890 


Wisconsin 
killings  Spring  Brass  Flange  Co Hardware. 


.Milwaukee 


CANADA 

PIANO  M  WIFACTCRERS 

N<)V.\    SCOTI.\ 
Willis    Piano   &    Organ   Co l•:^^lul)ll.sllc•(l ... 


.Stollartou 


.Estal)lislic(l 


Omakio 

siivih-r  &  Co..  ^^  1" 

Dn'minion    Piano   &    Organ    Co 

DoliiTly  &   Co.,  W 

Hurclay,    Glass    &    Co 

I5.-1I    p'iaiK.  &   Organ  Co 

Morris    Piano   Co 

WDrniwith    &    Co 

William    Sons.   R.   S 

\\  illiams    I'iano   Co 

Martin   Ormc   Piano   Co 

i;iun<lall     PiaiKi    C'o 

Consdlidatcd   Crossin   Piano   Co... 

(lonrlay.   Winti-r  &    Looming 

Ilcint/maiin    tV    Co 

licintzmanM    Co.,    (loriiard 

Alason   &    Uisc-li   Piano   Co 

Mendelssohn    Piano    Co , 

Xewcomix-    Piano    Co 

Nonllicimci-    I'iano  &  Music  Co... 

Owen   &    Son.    K.   S 

Stanley,     Krank 

Palmer    I'iano    Co 

I'xiiridgo  Piano  &  Organ  Co 

Karn    Co..    1).    W 

Thomas  Organ  &    Piano  Co.,  The. 


QlKllKC 

Craig    Piano   Co Estal)li> 

l.atlargue    Piano    Co.,    The 

Pratt.',  A 

Shaw    &    Co.,    .J.    W 

Willis    &    Co 

Lesage   &    Fi!s 

Sonecal   &,   Quidoz " 


-    Berlin 

1870     Bowmanville 

187.5    Clinton 

Dundas 

]S(;4     (hielph 

1S!»2     Listowel 

Kingston 

184!)     London 

Oshawa 

Ottawa 

Toronto 


1908 
18.50 

1^71 

188.5 


,  Uxbridge 


lS.S-2 


.Woodstock 


.Montreal 


St.  Therese  de  Blainsville 


PIANO  SUPPLY  .MAXL  FACTLRKRS 
Ontario 

Barthelmes  &.  Co.,  A.  A Actions — 

Best   &    Co.,    I).    M Hammers — 

Bohne    &    Co "  — 


Canada   Piano  Action  &  Key  Co Actions  and  Keys. 

Contes.    A.    K Strings \  . 

Higel   Co.,  Otto Actions  and  Keys. 

^*-r^-    A Aetions 

I..OOS*',  ,Jos.  M Kevs 

Toronto  Piano  String  Mfg.   Co Strings ...... 


.Toronto 


INDEX 


GENERAL  INDEX 


Action.   Practice,   Clavier.   82.   83 
Actions.  Grand,  58.  59.  60,  Gl,  84,  85,  88, 

89,  90,  91.  258 
Actions,   Hammer,   31.   41.   42.  43,   44,  45, 

40,  47.  48,  83.  84-90.  120-128,  201,  202 
Action,  "  Hopper.''  218 
Actions,  Player-Piano.  102 
Action.    Repetition,   247 
Actions.  I  pright,  53,  54,  91-90 
Agrafl'e,   01 

Bridge,  Soundboard,  52.  109 

Bridge.  Linear.  323 

Bush  Temple  of  Music,  Chicago,  356 

Capo  Tasto.  01 

Cases,  Grand,  38,  57,  58,  03.  64 

Cases.   Piano.    110-117.    119,    120 

Clavichord.   29,   30.   31 

ClavicA'theriura,   29 

Clavier,   82,   83 

Collections  of  Musical  Instruments,  429 

Collections  of  Old  Instruments,  188,  428, 
429 

Conclusions,    433-439 

Conservatory  of  !Music,  Bush  Temple,  Chi- 
cago. 356 

Consolidation  of  Large  Firms  in  Piano 
Trade,    182 


Damper.   31.   47.   54 

Department  Stores,  a  Factor  in  the 

Industry,  182 
Dulcimer,  41,  42,  43 

Export,  199,  200 

Felt,  Piano.   120-123,  240,  241,  259 
Fliigel.   57-65 

Frames,  Iron,  Grand.  59.  61-63.  69-7 
Frames,  Iron,  Piano.   128 
Frames,    Iron.    Square.   50-52.   69,   30 
Frames,   Iron,   Upright,   53,   55,   56., 
74,  75 

Hackbrett,  41,  42,  43 

Halls  : 

Aeolian,    331 
Bliithner,  393,  400 
Biisendorfer,   220,  393,  401 
Chickering.    175.   274,   391,   393 
Ehrbar,   222,   393 


IIalt^!    Continued 

Erard.    253,    393.    398 
Gewiuidliaus    (New).  Leipsie,  388 
Gewandhaus    (Old),  Leipsie,  386 
Herz,  258.  393 
Pleyel,  257,  393,   399 
Steck.  318,  393 
Steinway,   London.   309 
St«inway,  New  York.  175.  302,  309,  390, 
393 

Hammers,  Piano,  97-100,   123 
Handel   and   Haydn    Society.    270 
Harj).  Erard.  352.  353 
Harjisieliord,   34-38.    188,    189 

Alessandro  Trasunti's  Art  (Insert  191) 

Janko  Keyboard,  78-83 

Ke,  Chinese,  28 
Keyboard,  37,   38,    77-83 

Literature  on  the  Pianoforte,  423-429 

^Marketing  of  Pianos,  200,  201 
]\Ionocliord,  27 

Name.   Value   of,   in   the   Piano    Industry, 
213,  214 

Organ,   77 


Piano       Organ,  American  Oabin-et,  310 


;  Insert  p.  190) 


Pedal,  38 

Piano,  The  Art,  187-191 
Pianos,  Art  Grand 
Baldwin    Company 
Chickering  &   Sons 
Erard 
0  Everett   Piano   Company         "         " 

Jolin  Broadwood  &  Sons 
2  Julius  Bliithner 

69-71,  Liidwig  Bosendorfer  "         " 

Plevel.    Lvon   &    Co. 
Rudolf  Ibach  Sohn 
Steinway  &  Sons 
"    ■  Weber  Piano  Company  "         '* 

William  Knabe  &  Company     "  " 

Piano.  The  Commercial,  105^  175.  179-181, 

201 
Pianoforte.  41-48 

Piano.  Grand.  57-05.  09.  70-71,  77,  304 
Pianos,  in  Dejnirtment  Stores,   182 

469 


470 


TXDEX 


riaiio   Industry.  LoikUhj.'  Finns   in.   Jl.l 
I'ianii     .Manufaotuifis.     Consoliilatiun     of, 

182,  1.S3 
Pianos. 

NuinlH-r  |iiuiliiif(l  |)or  year,  175,  20(i.  4;)4 
\'alui'  of   yearly  oulpiit.    17."> 
I'ianos.   IVdiil.    1!»1-1!»4 
Pianos.  Sqnar.-.  47.   ")2,  57.  2ti9,  .302 
Pianos.  Stfiuiling.  1H2 
Piano,    rprif^'lit.   5;}-57.    <>•'>.    71).    71.    Insert 

I'.tO.   2(;(t 
Pianos.    X'aiue   of    .\':mie   un.    in    tlie    I'iano 

Industry.   21. {•2 15 
Piano.   W'rtienI   (irand.   48 
Pins,    lliteli   and    Tuninj,'.    128 

I'lANO    i'l.AVKHS    AM>     I'l.WKK    PlANOS: 

"  Aj'olian  "  Organ,  .■{27 

"  Aeriol  ••  Pianos.   147.   150.  .328 

••  An;,'elus"    Piano    Player.    1.S8 

••  A|.oll(."    Piano    Player.    154 

"  Aristano  "  (Jraiul   Player  Piano,  ;575 

••  Artistyle."  158 

'■  Ariston  "    Piano   Pi  lyer.   155 

IJiNJiop    iV     Downe's     Kevi)i)ard     Attuch- 

nient.    188;{.    VMi.   1.3!)  " 
Brown's   Interior   Player,    l!-'l)7,    150 
Hain's  Aiitoruatie  Piano.  1.33 
C'eeiiian    Player    Piano.   .")72 
"  t'elestina  "■    Orjiuinetle,    .327 
Clark's  Stroke  Button,  1005,   155,   15G 
Clark's  Stroke  Button.  1007.   155.  150 
Clark's    Transjiosing    Device.    ISOO,    151, 

152 
Clark's  'i'rans|)()sini;-  Drvice.   J!)()2,   152 
Crook's   •• 'Iheniodist,"    1000,    158,    101 
Danr|uard's   Flexible   Fiiii^rr   Meeliunisni, 

1004,    154,    155 
'■  Dea  "    Piano    Player,    157 
Fourneaux's    "  Pianista."    133.    1.34.    135 
(Jallv's    Plaver    Mecluini>iii.     1S81,     130, 

l.is 

Goolnian's  "  Harmonist "  Plaver.  ISOS, 
152,   153.  370 

Ilobart's   Endless  Tiuie  Sheet.   1008.   154 

Ilupftdtl's  •■  PlioiKda  "  Plaver.  1002.  1.55, 
157.    15S,    l.-)0 

.Iae(|inird's  Perforated  Endless  Card- 
board,  133 

Kelly's  Winil  Motor  with  Sli.h-  Valves. 
1880.     1.30.     130 

Ke<dey-l)aiu|uard  '•  Tenii>iiM<>nic,"  I'.ill. 
I5S.  u;-2 

Klufjh's   Au.xiliary   Key,    looti,    \r,:i,    l.j.") 

Kuster's  Mechanical  instruincnt.  1880, 
130,   140 


McTainniany's    Automatic     Playing    Or- 
gan.  18ti8.   134.   135,   130.    137 
"Metrostyle"  Player  Piano,   158,   101 
Morse's   Automatic  Organ.   132 
Pain    and     Kuster's    Self-playing    Piano. 

130.     137 
Pape's   Autiinuilic    I'iniid.    133 
Parker's    Automatic     Piano.     1892,    137, 

141,   142 
"Peerless"   i'i^iiio   Player,  152.  370 
"  Phonola  "    rianu   Plaver.   15.').    l.")7.   158, 

150 
"Phrasing   l><'\cr."    1 -VS 
"Pianista"  Piano   IMaver,   133,   134,  135 
"Pianola"   Piano   PlaVer,   150,   372 
Player  Pianos.   131-102,  104,  105 
Seytre's  Automatic   Piano,   13.3 
"Simplex'   Piano    Players,    150 
" 'i"em])ononip."    15S.   1(!2 
•■  'riiemodist  "    Player    Piano.    158.    liil 
Vaucanson's   Pierced  Cylinder   f<ir  Auto- 
matic Musical    Instruments,    133 
Votey's  Cabinet  Plaver,   149,   150 
Welin's   Tiidividual   Valve  Svstem.    1002. 

155.   157 
"  W'eite   .Mignon  "   Piano  Player.    157 
^\'hite    and    Parker's    Combin.ition    Up- 
right   Piano    and    Reed    Organ,    1895, 
14.3.  144 
\Miit('    and    Parkers    Automatic    Piano 

Plaver.   1897,   145-148 
Young's  "  :\letrostyle."    1901.   158.    101 

Pvesoiiator.    110.    1  1  I 

Scale,    Diatonic   and    (hroniatic.    77 

Scale.    iMiuali/ing.   323 

Scale,    Flat.  49.  02,  70 

Scale,   Overstrung.   51.   52.   54.   5;!.    02.    03, 

()4,  71.  302 
Soundboard.   31,    lot;  1  11.    117  1  10 
S|)inet.  32.  33 

Hans  Puckers  Doulde    (Insert   \>.   101) 
Stencil,   l><>gitimate    I'se  of,    182 
Strings,  31,  38,  53.  54.  55.  09 

Trade  Associations   Among  ^lauufacturcrs 

and  Dealers,  405-411 
Trade  Press,  The,  415-420 
Trust  :\rov<'ment    of   1892.    18!)7.  and    1809, 

205 

N'irginal,  33,  34 

Wire.   Piano.    123-120.   242 
Wrest  Plank,  49 


INDEX   OF   NAMES 


Abbott.   Frank  A.,  417.  41S 

Abbott  Piano  Action  Co..  ;521 

Adam,  (ifilianl.  -i:}! 

Aeolian   Company.    147.    loO.    \ry>.   \H2,   1!)!). 

20!).  ;}1!).  32(5,  :)2!t,  ;}3().  :5;52,  334,  372 
Aeolian  Company.    Ltd..  332 
Aeolian  Organ  &  Music  Comjiany.  327 
Aeolian.  Weber  Piano  &  Pianola  Company, 

332 
Albreclit.   (  liarles.  50 
Allen  and  Tlioni.  59.  fiO.  70 
Allgiiier  &    Zoon,   263 
Alli.-^on.  Arthur  &  Co.,  248 
American    Piano   Company,    183,   276,   286, 

2!1().  335 
Amnion.   John.    104.    105 
Am|)hion    Com])any.   334 
Andre.    Curl.    408  " 
Angelo.   Michael.    166 
Arion  Piano  Co.,  366 
Ariston   Company,  334 
Armstrong.    George    B.,    418 
Armstrong,  (leorge  W.,  Jr..  340,  347 
Armstrong  Piano  Co.,  336 
Arnold,  Richard.  274 
Auto  Grand  Piano  Co.,  155,  358 
Automatic  ]\hisic  Paper  Company.  327 
Auto]Hano  Com])any.  333 
Auto-Pneumatic  Action   Co.,   334 

Babcock.  Alpheus,  50.  69,  97.  270 

Babcock.  Lewis.  270 

Bach,   Emanuel.  31 

Bach,  Johann  Christian,   387 

Bach.  Johann  Sebastian,  31,  32,  45,  86, 
167,  194.  276,  385,  386 

Backers  (Becker).  Americus,  46,  47,  58, 
87,   88,    168 

Bacon,   Francis,   277 

Bacon.  George.  277 

Bacon    Piano   Co..   277 

Bacon,  W.   H.   P.,  277 

Bailey,  P.  J.,  147 

Bain,"  133 

Bald\yin  Company.  The,  64,  74,  181.  In- 
sert   191.    346-348 

Baldwin   Piano  Co..  346 

Baldwin  &  Co.,  D.  H.,  346 

Barnett   &   Son,   Samuel,   248 

Barnhorn.  C.   T.,   190 

Bauer,  .Julius,   362 

Bauer  &  Co.,  Julius,  362 

Bechstein.    Carl,    235,    236 


Becker,  Jacob.  264.  265 

Beethoven.    Ludwig   von,    37,    59,    87,    218, 

219.    3^7,    388,   400 
Beliniiig.   (lUstav,   320 
Behning.    Henry,    319.    320 
Beliiiing.  Jr..  Ilciiry.  320 
Behning  Piano  Comi)any,  320 
Behning  &  Son,  Henry,'319,  320 
Behr   Brothers,   336 
Bell  rend,  Johann,  48 
Benedict.    Sir    Julius,    318 
Bent,  George  P.,  362,  Insert  410 
Berden  &  Co.,  Francois,  263 
Bergner,  F.,  274 
Berndt.  Traugott,  232 
Bietepage,    Michael    A.,    265 
Bill,   Edward   Lyman,   417,   425 
Billinghurst,    H'    F.,    248 
Billon.    121 

Birmingham    Orgin    Co..   370 
Bisliop   &   Downe,    136.    139 
Blackmore,  D.  J.,  Insert  410 
Blasius   Piano  Co.,   336 
Blondcl.  Al]>honse,  254 
Bloomlield-Zeisler,    Fannie,   356 
Blumenbei'g,  ]\Iarc  A.,  417 
Bliithner,    Julius.     169,     190,    Insert    191. 

233-235.  424 
Bliithner,    [Max.    409 
Boardman.  William,  277,  278 
Boardman   &   Gray,   277,   286 
Bond,   Albert   S..   373,   374 
Bond,  S.  B..  372,  373 
Boone    Fils.    263 

Bord,   Jean   Denis  Antoine,   171,   261 
Bosendorfer.    Ludwig.    64,    88,    189,    Insert 

191.    219.    220,   397,   407 
Bossert,  \\'illiam,  278,  279 
Bourne,  Charles  H.,  279 
Bourne,  William,  278,  279 
Bourne  &  Company,  William,  278 
Bradbury,  William  B.,  314 
Bradley,  Kenneth    M.,  356 
Breitkopf  &  Hiirtel,  169 
Brewster  Piano  Company,  336 
Briggs,   C.   C,  293 
Briggs  Piano  Co.,  338 
Brinsniead,  Edgar,  173,  247,  425 
Brinsmead,  John,  94,   173,  247.  248 
Brinsmead,  Thomas  James,  247,  248 
Broadwood.  Henry   Fowler.  245 
Broadwood,  James  Henry  Shudi,  245,  246 
Broadwood,  James   S.,   59,  245 


471 


472 


ixdp:x 


Kroiulwood,    John,    4S,    50,    G2,    243,    244, 

{nmdwdod,   Tlioinas,   24J> 
{riiadwdiMl.    WalttT    Stewart.    245 
Sroadwoiid  &  Sons.  TCI.  l'>.  SS.  1)4.  157,  172, 

17;5.   ISSI.   Insert    IDU.  242.  245 
IJr.H.ks,    Lt<l..    12(i 
trown    &    llallft.    28(1 
{(ll-.w.  Hans  von.  22S.  274.  .300.  :i01 
{nsi-hniann.    (iustav    Adolpli.    2.52 
Wisb.  William   I...  355.  35(i.  357 
iiish.    Williani    11..   355.    35»i 
?nsli  &  Co..  Wiili-iMi  1!..  .■!55 
{iisli    &    (Jolts    I'iano   Co..   357 
?usli    &    l.anc.    3(12 
{nins.    Kdwaiil    M..    2S7.    2S8 
{urns.    I-'ranri-i    I'utnaiii,    280,    287 
{nsoiii.   15S.  .•{!t2 
liitclu-r.    'IMiiinii's.    247 
'..vriic.   .F.    P..    Insert   410 

aide.   I'.iv.'tte  S..  344.  345 

'ahle.    11.'  1)..   :!43.   34+,   345 

'ablf,  Hohirt   .M.,  344 

ahli'  Coniiiany.    155.  345 

aide  Company,  llohart  M..  362 

amplndi.   .Inliii    Calvin,   334,   335 

anij),   Isaac  X.,  37(5 

arrono.  Teresa.  300,  338,  302,  308 

hallen.  ('..  247 

hallen.  W  illiani.  247 

iiallen  &   Son.   247 

liamlteis,  277 

liamini(le.  338 

liappell  &  Co..  24-! 

liflse.   A.    B.,    374 

hasp,   Braton   S..   358 

hasp  Bros.   Piano  Co.,   358 

hasp  Co..  .\.   H..  374.  375 

lia.sp-llaeklev   Piano  Co.,  358 

liase.   .Milo  ,1..   .140 

hase    Piano   Co  .   340,   .358 

luisp  &  Baker  Comp'ny,  334 

hassaijin     Fr^res.  2f>3 

hica/»o  Cottage  ()r<^in  Co.,  343 

liiekerinfj   Brothers,   302 

hiikerin},'.    C.    Inank.   273-270 

hiekerinj,'.    (leor^c    II.,    275,    27() 

hiekerinf,',  donas,  51,  52.  70,  174.  270-272 

hiekering,  Thomas  E..  273 

hiekerinfj   &    Sons,    18,3,    100.    Insert    100. 

273.   274.   270.   3.35 
hilton  I'iano  Company,  332 
■ho|>in.  Fredt-ri*',  70.  171.  253,  250,  388 
lioralion   Co..  332 
hristofori.    l?artolomo,   42,   44-47,   58,   80- 

88.  !I7,    100.  21  (J 
hnreh  Company.  John.  337,  338 
lark,   iWvillp.   151.   152.   154-150.  370-378 
lark   Piano  Co.,  Melville.  302,  377,  378 
:|jirk   &    l{ieh.    377 
'hdand.  .Junas  M.,  Insert  410 


Clomont,  Louis  II.,  Insert  410 

Clenienti,  Muzio,  245,  240,  302 

Cludsani,   78 

Colhird,  Clmrlcs  l.ukev.  24(i 

Collanl.    K.    W  ..    240 

CollanI,    W.    I'..   2lti 

Collanl  i    Coilaid.   2  10 

Collins.    Beiijainin.     |(i().    104 

CoiioNci'.    .1.    l-'raiik.    .■!44 

Conway,    ('.    ('.,    2S0 

Conway,  E.  E.,  286 

Conwav.   Edwin   Stapleton.   340.343.   Insert 

410 
Cook  Piano  Co.,  J.   P>..  33(i 
Cramer,    302 

Crehore,    Benjamin.    50.    270 
Crew.    I!.   I!..   In.sert  410 
Crooks.   .1.    W..    158,    101 
CuiJiKTs.    ,1.    F.,   203 
Cunningham    Piano  Co.,  330 

D" Albert,  Kugene.  2.'-'5.  30!) 

Damroseh.    Leopold.   300 

Daniel!.   C.   A.,   418 

l):ni(|iiai-d.     Thomas.     l.")4.     155.     158.     102, 

333.  3:;4 
DaVinci,   KiO 
Davis,  Georjj;e  II. ,  280 
Decker,    Frank  C.,  317.  Insert   410 
Decker.    Mvron    A.,    287.    317 
I)c  P.ichmann,  158,  274.  34S,  392,  897,  398 
Detroit  ()i'<^an  Co..  371 
De  Wit.  188,  418.  427.  42s.  Insert  428,  429, 

438 
Dickinson.    100 
Diederichs.  ticbr..  204 
Ditson  &   Co.,  Oliver,  350.   351 
Doane.  Wing  &  Cusliiiif"-.  330 
Dobbs.   W.  ('..  240 
Dol-c.    Alfred.    09.    100.    117 
Dolmetsch.  438 
Dorner  &  Son.  F..  231 
Dorr,  Karl.  222 
Doud.   L.  L..  375 
Drcher.    Ibiny,    Insert    410 
Droop,    i:.    II..    Insert    410 
Dubois.   277 
Dubois  &    Sto<lart.  288 
Dunham,    .lohn    B.,    322 
Durkee,    Ceorge    B..    352 
Dullou,    William    D:illiba.    Insert    410 


Eaton,   Ceorge   L.,   330 
Eavestaft"   &    Son.   248 
Eddy,   Charles   H..   330 
Eildy.   Clarence.   372 
Ehri.ar.    Kricdrich.   220.   221.   407 
Ehrlich.    P.iul.    155.    157 
Ekstrem  cV   Co..  (i..  2(i3 
Emerson    Piano   Co..  203 
Emerson.   William   P..  292.  293 
Engelhardt,  Alfred   D.,   379 


INDEX 


473 


Eiigelhardt,  Fredoriek,  378,  370 
Engelhardt,  Walter  L.,  379 
Engelhardt  &   Sons,   F.,   152, 
Erard,   Jean   Baptist^*, 


•>;i? 


154 
254 


79,  SS,  92, 


Erard.   Pierre.  5S,  (il.   199,  254 
Erard,  (Sebastian,  4S,  58-01,  70. 

171,    189.    Insert    190,    191,    199,    214, 

233,  251-254 
E.ssipoff.   Annette,   309.   318 
Estela,    Pindo    de    Pedro,    262 
Estey,  Jacob,  303-305 
Estey,  Jacob  Gray,  306 
Estey,  J.  Harry.  30(> 
Estey,  Julius,  304-3()G 
Estey  Organ  Co.,  304 
Estev  Piano  Co.,  304 
Everett   Piano   Co.,    181, 

337 


190,   Insert    190, 


Faber,  Daniel,  30 
Farrand  Co.,  The,  302,  372 
Farrand,  W.  R.,  371 
Farrand  &  Votev  Co.,  371,  372 
Fetis.   M.,  29,  423 
Feiiricli.    Hermann,    409 
Feurich,  Julius,  230 
Fischer,    A.    H.,    Insert    410 
Fischer,  Carl,  167,  210,  289 
Fischer,    Charles    S..   289,   290 
Fischer,   John   U.,   289,    290 
Fischer.  J.  &.  C.  210.  290 
Fischer,   P.   F.,   98,    121 
Fortin,  121 

Foster,  Armstrong  &  Co.,  183 
Foster,   C.   H.   W..   330 
Foster  &  Company.  335 
Fourneaux.  133-135 
Fox,  Orrin  L..  417 
Freimd,  Harry  E..   417 
Frennd.  John' C.  41().  417 
Frickinger,  F.  W.,   127,  287 
Friederici,  C.  E.,  48,  49,  91,  92 
Fritz  &  Meyer,   127 
Fritz   &    Soim.    J..    222 
Fuchs,  123 
Fuller,   Levi   K.,   364.   305 

Gabler.  Ernest.  314 
C4abrilo\vitsch,  Ossip,  398 
Gaehle,  Henrv.  283 
Gallv,  Merritt.  130.  138 
Gaveau.   J.   G.,   171.   201 
Gebanhr.    C.    J.,    231 
Gehrling.  Charles,   127 
Geib.  108 

Gennett,  flarrv,  349 
Gennett.    Henry.    349 
Geronimo.  57,   188,  210 
Gerts,  John,   355,   350 
Gertz,  Richard  W..   110,   111 
Gevaert,   V..   203 
Gibson,  J.  H.,   337 


Gilbert  &   Co.,    174 
Goll,  Jacob,  108 
Gomph,  rieorge,  287 
Goolmaii.   F.  R.,  152,  153 
Gottschalk.    194 
Gramer.    J.,    293 
Gram-Richtsteig  Piano  Co.,  362 
Gray,    James    A.,    277,    278 
Gray,  James   Stuart,  278 
Gray,    William   James,   278 
Gregory.   Roliert   B.,   353 
Gretschel.   Heinrich,  424 
Griinicll    Brothers,   362 
Grinnell.   C.   A.,   Insert  410 
Gross,    Charles   J.,    292 
Gross.  Jacob,  291,  292 
Grotrian.   Wilhelm.   74,   232 
Grover  &  G rover.  248 
Grovesteen,   Fuller   &   Co.,   286 
Grovesteen,  James  H.,  280 
Grubb  &   Kosegirten   Brothers,    127 
Grunewald  &  Co..  L.,  378 
Guarra.   Hermanos,   202 
Guido,  28,   77,  215,  210 
Guilmant,  371 

Gulbransen-Dickinson    Co.,    334 
Giinther,  J.,  203 
Giinther    &  Sohne,  230 

Hackley,    C.    H.,    358 

Haddorff   Companv.    302 

Hale,  Joseph  P.,  179-181.  200 

Haines   Brothers,   295,  290,   335 

Haines.   Francis,  294.  295 

Haines.   Xapoleon   J.,   294-290  '"" 

Hallet  &  Davis  Piano  Co.,  280 

Hals.  Brodrene,  203 

Hamilton   Organ   Co.,   340 

Hamlin,  Emmons.  315 

Handel,    243,    385 

Hannemann,  Robert,  424 

Hansing.  Siegfried.  91,  100-108.  420 

Hardman,  Hiigh,  290 

Hardman,   John.   290 

Hardman.   Peck  &    Co.,   290 

Harger,    C.   B.,   418 

Harvard  Piano  Co.,  338 

Hawkins.  John  Isaac,  53,   09 

Haydn,  243,  385 

Ha'vwood,  Samuel,  158,  190 

Hazelton  Brothers,  288 

Haztdton,  F.  &   H..  288 

Hazelton,  Halsev,  289 

Hazelton,  Henry.   280,  288 

Hazelton,  John.  288 

Hazelton,  Samuel.  289 

Hazelton.  Talbot  &  Lyou,  288 

Healv.    :\Iark.    354 

Healv.  Patrick  Joseph,  350-353 

Healy,   Paul,   354 

Hebenstreit,  42 

Heintzmann,  Theodore  A.,  313,  314 


474 


IXDKX 


TI.it/mann.  Otto.  222 

ll.lllVri.il.   2.12 

ll.-linlu.ltz.   -.104.  :50.j.  42:).  42*) 

li.-nlmrjrt'i-.  ■'<J'<»'f.  '••••  !'•"'•  -^^-  -♦'- 

ll.TZ.  Il.'Miv.  s...  Si).  171.  2.-)7-2J!l,  392,  393 

ll.-v.r.    Wiliu'hn,    188,   429 

H.'Vl.    (;..    231 

Ilii.l.-hran.I.   84 

Ilill.T,  2.-)7 

llipkiiis.   A.  J..  53,  91.  425 

llohirt.  A.  .!..  154 

lioiriiiann.  Ki.lianl.  275 

linfmanii.  .los.-f.  :{91.  392.  399.  400 

H..ll.'iil).T«,',    F.    B.   T..    Insert  410 

ildpkinson,  James,  247 

Ilii|ikiiis(in.    .lolin.    247 

ll.>|.kiiisoii.  .1.  &   .r..   173.  247 

llornunj,'  &  Miiljcr.  2ti3 

ll.)Uj,'lit«)n,    \V.    1).,    125 

lioxa.   (il.   70 

Ilmii.'  &   Co..  33S 

I  iiiiiiiiicl.  257 

ilu|»fi'lil.   I.uclwi^.   155,   157-159 

Ihach.   f'arl    Rudolf.   223 

Il):icli.  .rolianncs  Adolf.   l(i^.  222 

ll.K-li.    Kiidnlf.    224.    225 

Ibai-h  Sohn.  Rudolf.  1S9,  liixrt   190.  224 

IIkuIi.  Walter.  225,  22(i 

Irnilcr.    i''.Miil.   227 

Irnili-r.    .Joliann    Clnistian    Gottlieb.    ItiO. 

225.  22ti 
Irniler.   Oswald.   22(5,   227 
Irnil.'r.   Otto.   227 
I  senna  nn.   C.   W..   23S 
Iserniann.  J.  C".  L.,  237.  23,S 
Iserniann.   Ludolf,    123,    12(1.   237.   239 
Ivors  &    Pond  Co..  338 
Izabcl,   Louis.   202 

Jacob   Brothers,   321.   325 

Jae(.i).   C.    Albert.   321.    322 

Jacob.   Cliarles.   321 

Ja<nl>.  .Idjin    F..  .321 

.!aci|iiard,    13.3 

James,    A.    ('..    286 

.Fames  &    lldimstrom,   280,   321 

.bmko.    Tanl    von.    78-83 

.Iai.;nies<-  Musjcil   I  ii-t  runient  Mfg.  Co.,  206 

.lardine.  .lolm.  02 

Jowett  Piano  Co..  338 

.If)liii-ti.n.    R.    .\..    340 

Jo-elVv.    Rafael.    158.    274.    285,    309,    39], 

398 
Knim  &  Ciintlier.  230 
Kiiiin  &   Sohn,  230 
Kalkbrcnner.  250,  257.  392 
Kaps,    Ijnst,   04 
Kc.-lcy.    158,    102.    334 
Keller.  90.    127 

Kelly.  fJ.'orpe  B..  13(i.  139.  160,  331.  332 
Kettcn.   Ileiirv.  274 


Kiiiihali.   C.   y..   280.   343 
KimlMll.   o.    A..    293 
Kiiiilull.  Willi^iiu   Wallace.  3.39-343 
Kin;,;.    Arthur    I'..   .■!(12 
Kin;^.     Iiilie    i;i\i''.    ;!5ti 
Ivirkni in,    77.    172 
Klugh.   Paul  B.,   153.    155 
Kniibe.   Ernest.  283-2S0 
Knabi'.    William.   282 
Knabe.   William.  .Jr..  283.  285 
Knabe  &   Co..   William.   175,   183,   190,   In- 
sert 190,  283-285.  335 
Knabe  &    Caehle.   283 
Knake.  (iebriider.  231 
Kohler.  Charles.  334 
Kohler  .V  Campbell.  334,  335 
Kraft,    ■riienil,,!-,.    .1.,    33S 
Krakauer   l!ri)tliers,  327 
Krakauer,    Daniel.    .■)27 
Krakauer,   David,  320 
Krakauei'.   .Tiilius.   327 
Kiak:nier.    Simon.    .32(5,    327 
Kianieli   &   Racli.  3;)0 
Krnn-^e.    l)i'..    78 
Krelibiel.    Henry    F(l\\ar(l.    427 
Krell.    Albert.    357.    358 
Krell.   Ab'xander.  357.  358 
Ki'ell    Auto  (Irand    Piano  Co..    157 
Krell- I'reiieli    Piano  Co..   358 
Krell.  .Ir..  Albert.  357.  358 
Ki'ell    Piano   ('o..   358 
Kreter,    Rudolf.   99.    100 
Kriegelsteiii.   (  liarles,   2.59,  201 
Kriegelslein.  (ieorecs.   201 
Kriegelstein.   .lean   (ieorges,   200,   201 
Ki'iegelstein   &    Co..  200 
Kunz.  58 

Kurtzmann,    Christian,    292 
Kuster.    Charles    A..    130.    140 
Kuster,    Henry,    130 

Lafl'crt.  Oscav.  428 

Langer  &    Co..   F..   90.  95.    127,  239 

Lantei'.   33(5 

Lawrence.  R.  W'.,  333 

Lawson,   Charles   B.,   326 

Lee.  Frank  A..  337-339.  Insert   410 

Lester  Piano  Co.,  330 

T>exo\v.  127 

IJghte  &  Xewton.  314 

I.iiideman.   TTenrv.  280 

l.indeman.  S.imuel  (L.  280 

l.indeman.   William.  279.  280 

Lindner.   T.   P..   231 

Lipp  &    S(din.   Richard.   231 

Liszt.  Franz.  194.  225,  305.  389,  397 

Loud    Brothers,   02 

Lt)U{l.  Thonms,  53,  84 

Ludwig  &  Co..  336 

Lufkins.    W.    \V.,    342.    .343 

Lydecker.  Peter  De  Witt.  381 

Lyon,  George  W'..  353 


INDEX 


475 


Lyon,  Custave.  257,  40(5 
Lyon  &  Hoaly,  350-354 

MacKav,  .John.   174.  270,  271 

Malmsjo,   I.   G.,   263 

Mand,  Carl.  231 

]\Iariiis.    41,    42 

Marsliall.  James  &  Travcr.  2S7 

Marsliall.  Sir  Herbert,  40!) 

Mar.sliall   &  Mittauer.   320 

Marshall  &■  Wendell.  2S7,  335 

jMartin.    Jane.    427 

Mason.  Henry,  315 

Mason.  Jolin' W.,  326 

Mason.    Lowell.   315 

Mason  &  Tlanilin.  7(5.  110.  LSI,  315.  316 

Mason.  J.   R..  370-372 

Mathews.  Mason  J.,  327 

]\Iathushek.    Frederiek,    S4.    85.    100.    108. 

109.  123,  321-325 
?tlathushek  Piano  Co..  323 
Mathushek  &  Son.  325 
Mathiishek  &  Sons  Piano  Co.,  321 
]\latzka.    George.    274 
MePhail.  A.  M..  278.  279 
McPhail  Co..  A.  M.,  270 
IMcTammanv.    John.    134-137 
Mehlin.  H.  Paul,  Insert  410 
Mehlin  &  Sons.  33(1 
Mendelssohn.    Felix.    101,    228 
Menter,  Sophie,  228,  318,  399 
]\Ierckel.  123 
Merrill  Piano  Co..  338 
■Nlethfessel,   Albert,   300 
Meyer  &  Co..  174.  231 
Miiler,    Henry    F.,    336 
]\Iiller.  James  C.   Lisert  410 
Miller.  Jr..  Henry  F..  337.  Insert  410 
:Miller.   Martin,   124.   125 
Miller  &   Sons  Piano  Co.,  Henry   F.,    194. 

336,  337 
Mills.  S.  B..  309 
Mola.  167,  216 
INIollenhauer,   C.   274 
jMonnington  &  Weston.  248 
]\Ionroe  Organ  Reed  Company,  328 
^Montana.  262 
:\Ioore,   William.   293 
Morgenstern  &   Kotrade.    127 
Morse.  Justinian.   132,   133 
Moscheles.  169.  257 
Moser,  108 

]\Iott,  Henry  A.,  426 
Mozart,    Wolfgang   Araadeus,    32.    59,    87, 

218.   243,   385-387 
INIusin.    Qyid,    356 

Xagel,  G.   L.,  231 

Naish,   121 

Xeitzel.  Dr..  338 

Nelson  Co..  The  H.  P.,  362 

Neuhaus,  78 


Newman    I'.rotliers.   362 

Nickel.   Adam.  380,  381 

Nickel.   Jr.,    Ib'nry,   381 

Niekerson.  William  K.,  417,  41S 

Niemann.    Dr.    Walter,    285,    424,    426 

Nishikawa    &    Son,    266 

Norton,   Edward   (^uincy,   425 

Nunns,    William,   289 

Nunns  &  Clark,  174 

Nunns  &  Com])any,  William,  308 

Nunns  &    Fischer,  289 

Oor,  J.,  263 
Orchestrelle  Co..   332 
Ortiz  &  Cusso,   171 
Osborn,   John.   50.   270,   286 

Packard.  Isaac  T.,  372 

Packard   Co.,   373,   374 

Paderewski,  I.  J.,  392.  399 

Pain.  R.  W.,  136,  137,  331 

Paine,  J.   H.,   275,  276 

Pape,  Henri,  84,  93,  98,  108,  121.  133.  191, 

259,  260 
Parker,  William  D.,  137,  138,  141,  142 
Parsons,  Charles  H.,   Insert  410 
Patz.schke,   C.   W.,   240 
Patzschke,  F.  W.,  240,  241 
Patzsclike,  Rudolf,  241 
Paul,   Dr.    Oscar,   424 
Payson,   Ed^vard  S.,  293,  Insert  410 
Pease  Piano  Co.,   336 
Peck.  Leopold,  290 
Perkins.    Edward    R.,    330 
Perzina,  Paul.  79-83 
Pfeiffer,    A.    J..    231 
Pfeiffer,  Carl  J..   191-194.  231 
Pfister.  H..  231 
Pfriemer.  Charles,  382 
Pianola  Company,  332 
Pianola   Company   Proprietary,   Ltd.,   The, 

332 
Plaidy,    169 

Pleyel,   Camille,  256.   257 
Pleyel,  Ignace,  54,  93.  254.  257,  392 
Pleyel,  Lyon  &   Co.,   124,   171,   190,  Insert 

190.  191.  257 
Pleyel,  ^lailame,  257 
Pleyel,  Wolff  &  Co.,  125 
Poehlmann.  :\loritz.  124.  125,  237,  242 
Poehlmann.   Richard.   242 
Poehlmann  &  Son,  248 
Pond.    Handel,    Insert   410 
Poole  Piano  Co.,  338 
Post.  Charles  N..  352-354 
Powers.   Patrick   H.,   293,  294 
Price  &  Teeple,  362 
Pugno,   348 

Putnam,  Charles  R.,  Insert  410 
Pythagoras,  27 

Quigg,  J.  Travis,  417 


476 


INDEX 


RachiiN.  Ailnlf  IVnlinaii.l.  23:? 

Ita.liitis    IMwanl    IVnliiiaiul.  232-234 

Hacliiils.  Matliias  Keidinaml.  232.  233 

liaM'ii.  277 

K.mmI.  v.,  287 

K.-iiirckc.    1G!> 

Ivi-isfiiatii-r.    '42S 

Kciiiciiyi.   Kd.,   274 

IJijkfii    &    «lc    Uiii;?o.   203 

Ki.nl.ault,   Dr.   Kd.   P..  34,  423.  424 

ItitiniilltT.   .Andifas  Gt'orti.   1(58,  22t) 

Hitt.T,  231 

Hull  I  tin;,'.  (Ji'lnudor.  231 

ItnllMHii)  &  Son,  124 

Kr.niscli,   Carl.   23(),   237 

Uiitiscvi'lt.  Frank.  371 

Hosi'lcr.   Hi7.  210 

HtKsc,    l'"rt'd»'ri(k,   245 

l{()Sf,  (Jfitij:.'   1)..  24;').  409 

Udsc.   (ii'Dif,'!'    '1  lionias.    24.5 

Ko.scnkrantz,   Ern.st,    lOS 

l{(.scid<raiitz,  Knist   Piiilip.  220 

KuM'ukrantz.   Kricdrioii  \\illiclin.  220 

Rnsfiitlial.    Moiiz.    158,   285,   .302.   303,   398 

Rossi.  33 

Roth.  A.   P..  379 

R..tli  &    Kiij,n.ili:inlt.  379 

RiO.iiistciii.  Anton.  175.  305,  .309,  390,  398 

Knckcrs.    Hans.    KiO.    188,   Insert    190 

Ruinnifi.   Franz,  275 

Sacknii'istor.    84 

Saint-SaiMis.  257,  '285 

Saner,  225 

Scarlatti,  37,  27G 

Schaaf,  Adam.   302 

SehactlVr   I'iano  Mfg.  Co.,  302 

Seharwenka,    Xaver,    275 

Scheel,  Carl.  233 

S.liiedniaver.   Adolf.   228,   229 

Scliic.lniaver.   A<lolf.  Jr.,  228,  407-409 

Scliiedniaycr,    Raltliasar.    108,   228 

Seiiiedmayer,   llernuinn.   228,   230 

Sdiiedniayer.  .Toliann  David.  168,  227,  228 

S(liieduia\er.  .Toliann    Lf)r<'nz.  228,  229 

Scl.icdniaver.  J.  cV    l\.  229 

Seiiiedmayer.   .hiiins,  229-231 

.Seiiiedmayer.  Lorenz.  168 

Seiiiedmayer.  Max.  230 

Selii.dmay<'r.   J'aul.   22!),   232 

Seiiiedmayer   &    Siilme,   228 

Sell i  Her   I'iano  Co.,  362 

Selimidt,   David  H..   .381 

Selimidt.     Franz,    407 

Sriiniidt,    .loliann,    53 

Selimidt,   .Jolm    Frederick,   381 

Sclineider'.s   NcfTe,   Josef.   222 

Schomaeker,  Henry  ('.,  282,  330 

Seliomaeker.  Jolm  Jh-iiry,  214,  280,  281 

Seliomaeker  Piano  Co.,  281 

Sciiiine,   I^onis   P..   191 

Scliriider,  Carl,  205 


SehWider,  Carl  Nicoiai.  203-205 

Seliriider,  .Toliann  l-'riedrieli,  202,  204 

Sclii-ildcr.  .loiiii,  2ti.") 

Seiii-.ider,    Karl    .Mieliael,    204 

Sell  Wider,  Oskar,  205 

Selir.lter,  Cliristopli.  42,  43,  45,  80,  88,  165 

Seliuiz  Co..   .M.,  300 

Scliuiz,  -Mathias,  ,359,  300 

Schuiz,   Otto,   300 

Schumacher.  Johann    lieinricli.  214.   280 

Sehiiniann    Piano  Co.,  :',&J. 

Seliuniami,    Itoliert.    ]91.    19; 

Seliwander.  Jean.  91.  95.  127,  200-202 

Sehwai'z,  ^L,  274 

Sehweighofer  S(iline.    I.    M..  222 

Scavenis,    George    \V..    !t(i.    127 

Seidl.  Anton,  275,  309 

Sembrieh,  285 

Seuil'ert,   221 

Sevliarth,   Hermann,  428 

SoVtre,  133 

Shaw,  F.  S.,  345 

Shoninger,    Bernhard.    .SKi 

Shoiiinger.    S.    B..    317 

Shiidi.    Biirkat,    188,    214.    243,    244 

Sievers,  G.   F.,   107,  210.  424 

Silheniiann.    Andreas,   217 

Silhcrmann.  (Jottfried.  44,  45.  58,  86,  167, 

217.    380 
Silherniaiin.  .lolianii  Daniel.  217 
Silbeiinaiin.  .Tohann  Friedricl:.  217 
Sini])lex   Piano  Player  Co..  .3.34 
Sim])soii.    .lojui    Boulton.    300 
Smitli.    Birnes   &    Strohher    Co..    362 
Smith.  Chandler  W..  Insert  410 
Smitli.   Freehorn  C.  314.  315 
Smith  &   lioiightnn.  124 
Smitli  &   Sons,    125 
Sohmer,  Hugo,  320 
Sohnier  &   Co..   320 
Southwell.   \\'illiam,  54 
S])illaiie,   Dnii(d.  425 
Spinnelti,  Giovanni,  32,  83.  216 
Squire  &   Son,   B.,   248 
Standard  Pneumatic  Action  Co..  334 
Starek  Co..   P.  A..  302 
Starr,   Benjamin,   348,   349 
Starr,   .lanies   S..   348,   349 
Starr   Piano  Co..  349 
Steek.  (ieorge.   175.   182.  233.  318.  319 
Steek    &    Co.,    (Jeorge,    332 
Steger,  John  V.,  361,  362 
Stein,  Friedrieh.  218 
Stein,  Johann  Andreas,  47,  48,  58,  59.  84, 

87,   l<i8,  218.  387 
Stoin-Streieher,  Xannette,  59,  168,  218,  219, 

388,  400 
Steinert.  :\lorris.  188,  Insert  420.  427.  429, 

43S 
Steinert  &   Sons,  M.,  427 
Steinway,  Albert,  311.  312 
Steinwa'v,  Charles,  301-304,  300,  313 


INDEX 


477 


Stoinway,  Charles  TI..  '.U'l 

.Steinway.    C.    F.    Theodore,    301,    303-30(3, 

308,  312,  313 
Steinway,    Frederick   T..    312 
Steinway,   Henry,   300 
Steinway,  Henry  Engelliardt,  214,  301,  302, 

308!^  313»  3'J8 
Steinway,  Henry,  Jr.,  301,  304,  .307,  313 
Steinway.   Theodore    Cassebeer,   ;3'12 
Sleinwa\'.  Tlieodore   F.,  312 
Steinway,  \\illiani.   174,  Hi),  286,  306-313 
Steinwav  &  Sons,  51,  62,  63,  71-73,  S5,  S!). 

102-105,  174,  189,  Insert  1!)0,  199,  301- 

313 
SteinSveg,  Henrv  Engelhardt,  214,  221,  232, 

299,  300 
Sterling,   Charles  A.,   370,   371 
Sterling  Co.,  Ihe,  370 
Stewart,   James,   270 
Stewart   &    Chickering,    270 
Stieif,  Charles  M.,  291.  292 
Stieff.  Frederick  P.,  290,  291 
Still    Brothers,    58 
St()cker,   S5 

Stodart,  Robert,  58,  59,  69,  277 
Story,  Edward  H.,  376,  377 
Story,  Hampton   L.,   375,   376,   378 
Story  &  Camp,  376 
Story  &   Clark,  376,  378 
Story  &  Clark  Organ  Co.,  376,  378 
Story  &   Powers,   375 
Stranbe  Piano  Co.,  362 
Streicher,  Emil,  219 
Streicher,  Johann  Baptist,  80,  87,  168,  218, 

219 
Streicher,  Johanu  Andreas,  64,  218 
Streicher   &    Sohn,   J.   B.,   219 
Streicher  &  Sohn,  Nannette,  218 
Strich  &   Zeidler.  336 
Strohmenger  &   Son.  248 
Stultz    &    Bauer,    336 
StujTBsant  Piano  Co.,  332 
Syverson,  Ole,  381 

Technola    Piano   Co.,   332 
Thibouville-Lamy,  405 
Thomas,  Theodore.   175,  309 
Thoms,   William   M., 
Thiirmer,  Ferdinand. 
Trasvinti,  Alessandro, 
Trayser,  348,   349 
Tremaine.  Charles  il 
Tremaine.  Ilarrv  B..  328-333 
Tremaine.  William  B.,  327,  328.  333 
Tschudi,  Burckhardt,  173,  214,  243 
Tyndall.  John,  305,  425 

Universal  Music  Co.,  332 

Valley  Gem  Piano  Co..  340 
Vanderstucken.  Frank.  274 
Van   Hvfte,   B.,   263 


416 
232 
188,  In-sert  190 

277 


^'an  "\'orx',   160 

\'aucanson,    133 

Vits,  Emile,  263 

Vocalian   Organ   Company,   332 

^'ogel  &  Sohn.   1.  C...  231  " 

Vose,  James  Whiting,  293-295 

Vose,  Willard  A.,  294 

Vose  &  Sons,  294 

Vose  &  Sons  Piano  Co.,  294 

Votev.  Edwin    S.,   149,    150,    152,    3^0,  331, 

371,  372 
Votey   Orgui    Company,    332 

\\achtl   &    Bleyer,   69 

\\'agener,   Clukrles  H.,  376 

Wagner,   Richard,   224,   305,   318 

Washburn  &  Moen,  124,  125 

Watson,  Henrv  C..  415,  410.  420 

Weber,  Albert',  65,  175,  179,  182,  286,  296- 

299 
Weber  Piano  Co.,  190,  Insert  190,  299,  320- 

331,  332 
Webster  &   Horsfall,    123,    124 
Weickert,  August  Moritz,  237,  239,  240 
Weickert,  Carl  Moritz,   121,  241 
Weickert,    Fritz,    241 
Weickert,  I.   D.,  239,  241 
Weickert,   :\Ia.\,   241 
Weickert.  Otto.  241 
Weidig.   C,  236 
Weil,  Milton,  417 
\\'elcker  von  Gontershausen,  423 
^^'elin,   Peter.    155,    157 
Wellington  Piano  Case  Co.,  321 
\\'ells,  Charles  Avery,  417 
Wenzel,    169 

Werlein,   Philip,  Insert  410 
Wessell,  Arthur.   381 
Wessell,  Fernando,  381 
Wessell,   Xickel   &   Gross,   90,   96,   379 
Wessell,  Otto,   379-381 
Western  Cottage  Organ  Co.,  343 
Wheelock   Piano   Co.,   332 
Wheelock,  W  illiam  E..  325,  326,  331,  410 
Wheelock  &  Co.,  William  E.,  325 
White   and   Parker,    143-148,    152 
White,  Edward  H.,  368,  369 
White.  Frank  C,  368.  370 
White,   Henry   Kirk.   367.   368,   370 
White,    Howard,    368-370 
White,  James   H.,   368-370 
White,  William  B.,  425 
Whitehead   Brothers.    121 
\Miitnev,    Calvin,    374,    375 
Whitney,  C.  J.,  371 
Whitnev  Organ   Co.,   371 
Whitnev.   W.   C,  375 
Wilcox,"    II.    C,    368 
Wilcox  &  \\hite  Organ  Co.,  138,   144,  147, 

150,  334,  368 
Wilhelmi.  274 


Will. 


Ke, 


99 


478 


IXDKX 


\Vin<j,  Frank  L.,  XiG 
Wiiifr,  1. 11  ma II  J{.,  '.i'M 
Winy.  K.  IX-lano,  330 
Winjjr  &  Son,  330 
Wiiit.T  &   Co.,  330 
W  issntT,  330 
Wit  ton.    Witlon    &    fo. 


248 


WollV,  August*',  2')' 
WolliriytT,   K.  H.,  343 
\\'<>l(in;,'«'r   Oij^aM    Co..   343 
Woiulfonl.    I.   J{..   2H2 
\\(irnuni.  KdlnTt,  54,  !t2.  03 
Wul^iii,  I'larciui',  340 
Wul-in.    laicii'M.   34.1-34S 
\\  urlitzi-r  Co.,  Kudolpli,  355 


Wurlitzor,  Faniey.  355 
WurlitztT,  Howard,  354 
Wiirlitzcr  ^Ifg.  Co..  Rudolph,  355 
\\'urli(z<>r.  l^udolpli,   354 
\\'iirli(z<T,    i!ii.l<ilpli    II..  355 

Yamaba,  Torakusu.  2t;5.  2G6 
Young,    F.    L.,    158,    101 

Zarlinu.  ( ;iii>('|)i)(',   77 

Zeitter  &  Winkelmann,  232 

Ziegler.  Dorotta  Steinway-,  312 

Zicgler,   Henry,  312 

Zumpe,  doliai'ines,  40-48,  87,  108,  172 


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