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http://www.archive.org/details/cu31924022448793
PIANOS
AND THEIKMAKERS
AVeber Pianola Gtband
PIANOS
AND THEIR MAKERS
By Alfred Dolge
A COMPREHENSIVE HISTORY OF THE
DEVELOPMENT OF THE PIANO FROM
THE MONOCHORD TO THE CONCERT
GRAND PLAYIJR PIANO
300 Elustrations
COVINA PUBLISHING COMPANY
COVINA, CALIFORNIA
1911
■114^1 Vigr:-:!-M^
Copyright 1911, by
ALFRED DOLGE
Ait RighU Reserved
THE QUINN & BODEN CO. PRESS
I SAHVIAV, N. '■ <j y
' ' 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. ' '
Francis Bacon.
Sebastian Eeard
After Original Oil Paiatiog by David
Through Courtesy of Mons. A. Blondel
FOREWORD
IN describing the 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 many fruitless efforts of inventors whose
aim seemed to be merely to produce ' ' something different, ' ' 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 what 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.
7
8 FOEEWOED
In order to secure accuracy, I followed the development chrono-
logically, as the most trustworthy authorities record it, aiming
always to give a clear description in as few words as possible,
because this work is written for those who desire to know, and
who do not care merely to be entertained.
Being limited in scope to past events, the author regrets espe-
cially that no particular mention could be made of the valuable
labors of Henry Ziegler, Frank J. Conover, Eichard "W. Gertz,
Paul G. Mehlin and others, who are earnestly engaged in improv-
ing the heritage left us by the masters of the past.
In submitting this volume to the reader, the author desires to
express his thanks to Messrs. Theodore C. Steinway, William E.
Wheelock, Melville Clark, J. H. White, George B. Kelly, Ludwig
Bosendorfer, Josef Herrburger, Jr., Siegfried Hansing, Paul
de Wit and Morris Steinert, for their kind and valuable assistance,
without which the work would lack much important data.
COVINA, CaLIFOENIA,
April, 1911.
CONTENTS
PART ONE
Technical Development of the Pianoforte
CHAPTER I
The Monochokd, Pythagoras, Guido of Arezzo, the Chinese
Ke
PAGE
27
29
29
32
34
The Clavicytheeium, Italy and Germany
The Clavichord, Daniel Faber, Bach, Mozart, Beethoven
The Spinet, Giovanni Spinnetti
The Habpsichokd and its development ....
CHAPTER II
The Pianofoete, Christofori, Marius, Schroter, Silbermann,
Backers, Stein, German, Austrian and English Schools,
Friederici 41
The Squaee Piano, Zumpe, Broadwood, Erard, Behrend, Al-
brecht, Crehore, Osborn, Babeock, Chick^i-ing, Steinway,
Mathushek 48
The Upeight Piano, Schmidt, Hawkins, Loud, Southwell,
Wornum, Pleyel 53
The Gband Piano, Geronimo, Still, Stodart, Broadwood,
Erard, Stein, Nannette Stein-Streicher, Loud, Jardine,
Chickering, Steinway, Bosendorfer, Kaps ... 57
9
10 CONTENTS
CHAPTER III
PAGE
The Full Iron Frame, Hawkins, Allen and Thorn, Babcock,
Chickering, Erard, Broadwood, Hoxa, Steinway . . 69
The KJEYBOARD, Guido of Arezzo, Zarlina, Kirkman, Krause,
Chromatic Keyboard, Neuhaus, Cludsam, Paul von
Janko, Perzina . .77
The Action, Schroter, Christofori, Silbermann, Stein,
Streieher, Zumpe, Backers, Erard, Friederici, Wornum,
Pleyel, Pape 83
The Hammer, Christofori, Silbermann, Pape, Wilke, Kreter,
Mathushek, Collins, Dolge, Ammon, Steinway ... 97
The Soundboard, Chladni, Tyndall, Helmholtz, Hansing, Dr.
Paul, Pape, Mathushek 106
CHAPTER IV
The Supply Industries, Lumber (old and new methods of
seasoning). Felt, Wire, Actions 115
Felt Making, Pape, Whitehead, Naish, Billon, Fortin,
Weickert, Dolge 120
Piano Wire, Fuchs, Webster & Horsfall, Miller, Poehlmann,
Washburn & Moen, Houghton, Smith, World's Fair Tests 123
Actions, Brooks,. Isermann, Gehrling, Herrburger-Schwan-
der, Morgenstern & Kotrade, Lexow, Langer & Com-
pany, Fritz & Meyer, Keller, Seaverns .... 126
CHAPTER V
Development of the Player Piano, Morse, Vaueanson,
Seytre, Bain, Pape, Fourneaux, McTammany, Gaily,
Bishop & Downe, Kuster, Paine, 'Parker, White, Brown,
Votey, Goolmann, Hobart, Clark, Kelly, Klugh,
Welin, Hupfeld, Welte, Young, Crooks, Dickinson,
Danquard 131
CONTENTS 11
PART TWO
Commercial Development of the Piano Industry
CHAPTER I
PAGE
Italy, Christofori, Fischer, Sievers, Roseler, Mola . . . 166
Germany, Silbermann, Stein, Nannette Stein, Streicher,
Schiedmayer. Ibach, Ritmiiller, Rosenkrantz, Irmler,
Bliithner .' 167
France, Erard, Pleyel, Herz, Gaveau, Bord .... 171
England, Tshudi, Broadwood, Kirkman, Zumpe, CoUard,
Brinsmead, Hopkinson 172
America, Chickering, 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 Ruckers, Shudi, Broadwood,
Alma Tadema, Steinway, Marquandt, Sir Edward Poyn-
ter, Centennial Grand at the White House, Denning,
Bosendorfer, Empress Elizabeth, Ibach 's Jubilee Grand,
Baldwin, Barnhorn, Guest, Bliithner, Erard, Pleyel, Lyon
& Co., Chickering Louis XIV, Everett Sheraton Grand,
Samuel Hay ward, Knabe " Nouveau Art " Grand,
Weber Louis XIV Grand 187
The Pedal Piano, Schone, Schumann, Mendelssohn, Pleyel,
Erard, Pfeiffer, Henry F. Miller l9l
The Player Piano .194
CHAPTER IV
Export, Steinway, Aeolian ....... 199
Methods of Marketing, The Agency System . . . 200*
12 CONTENTS
CHAPTER V
PAGE
The Trust Movements of 1892, 1897 and 1899. Plan, Scope,
Cause of Failure 205
PART THREE
Men Who Have Made Piano History
CHAPTER I
Italy, Guido of Arezzo, Spinnetti, Geronimo, Christofori,
Fischer, Sievers, Roseler, Mola 215
Germany, Silbermann, Stein, Nannette Stein, Streicher,
Bosendorfer, Seuffert, Ehrbar, Schweighofer, Heitz-
mann, Ibach, Ritmiiller, Rosenkrantz, Irmler, Schied-
mayer, Kaim & Giinther, Dorner, Lipp, Wagner, Pfeiffer,
Rohlfing, Knake, Adam, Heyl; Vogel, Lindner, Meyer,
Mand, Gebaulir, Thiirmer, Steinweg, Grotrian, Zeitter &
Winkelmann, Buschmann, Rachals, Scheel, Bliithner,
Ronisch, Feurich, Isermann, Weickert, Poehlmann . . 217
England, Shudi, Broadwood, Collard, Challen, Hopkinson,
Brinsmead, Eavestaff, Squire, Grover, Barnett, PoeM-
mann, Strobmenger, Witton, Brooks .... 242
CHAPTER II
France, Erard, Pleyel, Kalkbrenner, Wolff, Lyon, Herz,
Pape, Kriegelstein, Gaveau, Bord, Schwander, Herr-
burger 251
Spain, Estela, Guarra, Chassaign, Montana .... 262
Belgium,, Berden, Van Hyfte, Vits, Boone Fils, Gevaert,
Giinther, Oor 263
Netherlands, Allgauer, Cuijpers, Rijken and de Lange . . 263
Scandinavia, Hornung & Moller, Ekstrem, Malmsjoe, Hals . 263
Russia, Diederichs, Schroder, Becker 264
Japan, Torakusu Yamaha, Nishikawa & Son .... 265
CONTENTS 13
CHAPTER III
PAGE
America, Crehore, Osborn, Babcock, MacKay, Stewart, Chick-
ering. Bacon & Raven, James A. Gray, William Bourne,
McPhail, Lindeman, Schomacker, 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 Inckistry
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 46
Brinsmead Upright Action 94
Broadwood Upright Action 94
Christofori's Hammer Action, 1707 44
Christof ori 's Hammer Action, 1720 44
English Sticker Upright Action, 1820 92
Erard Grand Action, 1821 88
Erard-Herz Grand Action, 1850 89
Erard 's Repetition Grand Action, 1821 60
Friederici's Upright Action, 1745 92
Herrburger-Schwander Grand Action, Paris ... 91
Herrburger-Schwandei; Upright Action 95
Keller's Grand Action, Stuttgart, 1909 ..... 90
Langer Grand Action, Berlin, 1909 90
Langer Upright Action 95
Loud's Downward Striking Action for Square or Grand
Pianos, 1827 84
Marius' Downward Striking Hammer Action ... 41
Marius' Upward Striking Hammer Action . . . . 42
Modern American Upright Action 94
Schroter Downward Striking Hammer Action, 1717 . . 43
Schroter Upward Striking Action, 1717 43
Seaverns Upright Action 96
Siegfried Hansing's Grand Action, 1898 .... 91
Silbermann's Hammer Action, 1728 44
Stein-Streichet's (Nannette) Grand Action, 1780 . . 59
Stein's (Johann Andreas) Action, 1780 86
Stein's Hammer Action 47
Steinway Grand Action, 1884 89
15
16 ILLUSTRATIONS
Actions. Continued
Steinway's Tubular Metallic Action Frame, 1866
Streicher's (Johann Baptist) Actioii> 1824 .
Wesseir, Nickel & Gross' Grand Action, 1890
Wessell, Nickel & Gross* Upright Action
Wornum's Upright Action, 1826
Zumpe's Hammer Action, 1760-65 .
. 85
. 87
. 90
. 96
54, 93
. 46
Baldwin Grand Case with Acoustic Rim 64
Capo Tasto 61
Clavichord, 16th Century 30
Clavichord, 17th Century 31
Clavicytherium, 14th Century 29
De Wit Tuning the Clavichord, Paul . . . Insert 427-428
Dulcimer 43
Halls
Chickering Hall, New York Insert 391
Gewandhaus (Old), Leipsic Insert 386
Gewandhaus Saal (Old), Leipsic .... Insert 387
Gewandhaus (New), Leipsic Insert 388
Gewandhaus Saal (New), Leipsic .... Insert 389
Saal Bliithner, Berlin Insert 400
Saal Bosendorfer, Vienna Insert 401
Salle Erard, Paris Insert 398
Salle Pleyel, Paris Insert 399
Steinway Hall, New York Insert 390
Hammers
Ammon Hammer 104
Ammon-Dolge Hammer 105
Christofori Hammer 97
Hammers Covered with Leather 97
Hammers Covered with Leather and Felt .... 98
Machine-covered Felt Hammer, 1871 99
Molding for Ammon-Dolge Hammer 105
Single Coat Felt Hammer for Grand Pianos . . . 102
Single Coat Felt Hammer for Upright Pianos . . .102
Steinway Saturated Hammer 105
ILLUSTRATIONS 17
Hammers. Continued page
Dolge-Gardener Compressed Air Hammer-Covering Ma-
chine, 1910 103
Dolge Hammer-Covering Machine, 1887 . . . 100, 101
Harp, Lyon & Healy Insert 352
Hiarpsichord, 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 Thom's Grand Bracing System, 1820 .
Babcock's Full Iron Frame, 1825
Baldwin Upright Iron Frame, 1910
Broadwood & Sons' Earless 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, 1910 78
Janko-Perzina Keyboard, 1910 79
Perzina 's Action for Practice Clavier for Janko Keyboard 82
Perzina's Key for Janko Keyboard, 1910 .... 81
Perzina 's Practice Clavier for Janko Keyboard ... 82
Perzina's Reversible Key-bottom for two Keyboards . 81
Monochord, 582 B. C. 27
National Association of Piano Dealers of America, Presi-
dents of, from 1902 to 1911 Insert 411
18 ILLUSTRATIONS
PAGE
National Association of Piano Manufacturers of America,
Presidents of, from 1897 to 1911 .... Insert 410
Pianos
Baldwin Art Grand Insert 190
Chickering & Sons ' Louis XIV. Art Grand . . Insert 190
Cliristofori's Piano e forte, 1711 45
Erard Art Grand Insert 190
Everett Piano Company Sheraton Art Grand . Insert 190
John Broadwood & Sons' Art Grand . . . Insert 190
Julius Bliithner Art Grand Insert 190
Ludwig Bosendorfer Art Grand .... Insert 190
Pleyel, Lyon & Company Renaissance Art Grand . Insert 190
Rudolf Ibach Sohn Jubilee Art Grand . . . Insert 190
Steinway & Sons' Art Grand, made for Frederick Mar-
quandt Insert 190
Steinway & Sons' One-hundred-thousandth Piano, at the
White House Insert 190
Weber Louis XIV. Art Grand Insert 190
William Knabe & Co " Nouveau Art " Grand . Insert 190
Albrecht's Square Piano, 1789 50
Friederici's Square Piano, 1758 49
Zumpe's Square Piano, 1760-65 47
Hawkins' Upright Piano, 1800 53
Pleyel, Lyon & Company Gothic Upright . . Insert 190
Southwell's Upright Piano, 1807 54
Piano, Mathushek's Table 323
Pfeiffer's (Carl J.) Action for Pedal Upright Pianos . . 192
Pfeiffer's (Carl J.) Attachment for Pedal Grand Piano . 192
Pfeiffer's (Carl J.) Mechanism for Organ Pedal Practice . 193
Pfeiffer's (Carl J.) Upright Piano for Pedal Practice . 193
Piano Players and Player Pianos
Bishop & Downe's Keyboard Attachment, 1883 .
Brown's (Theodore P.) Interior Player, 1897
Clark's (Melville) Stroke Button in front of Fulcrum
Clark's (Melville) Transposing Device, 1899
Clark's (Melville) Transposing Device, 1902 .
Crook's (J. W.) Themodist, 1900
139
150
156
151
152
161
ILLUSTRATIONS 19
Piano Players and Player Pianos. Continued page
Danquard's (Thomas) Flexible Finger Mechanism, 1904 . 155
Fourneaux's Pianista 134, 135
Gaily 's (Merritt) Player Mechanism, 1881 . . . .138
Goolman's (F. R.) Harmonist Player, 1898 . . . .153
Hobart's (A. J.) Endless Tune Sheet, 1908 . . . .154
Hupfeld's (Ludwig) Phonola Player, 1902 . . . 158, 159
Keeley-Danquard Temponome, 1911 162
Kelly's (George B.) Wind Motor with Slide Valves, 1886 . 139
Klugh's (Paul B.) Auxiliary Key, 1906 . . . .153
Kuster'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
Blondel, 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
Biilow, Hans von 391
Burns, Francis Putnam 287
Bush, William H - 356
20 ILLUSTRATIONS
PAGE
Cable, H. D 343
Campbell, John C 335
Carreno, Teresa 398
Chase, Braton S 358
Chickering, C. Frank 274
Chickering, George H 275
Chickering, Jonas 271
Chickering, Thomas E 273
Chopin, Frederic 388
Church, John 338
Clark, Melville 377
Conover, J. Frank 344
Conway, Edwin S 341
Decker, Myron A 317
De Pachmann 397
Ehrbar, Friedrich 221
Engelhardt, Frederick 379
Erard, Sebastian 253
Estey, Jacob 363
Estey, Julius 366
Fischer, Charles S 289
Friederici, C. E 48
Fuller, Levi K 365
Gabler, Ernest 314
Gennett, Henry 349
Gross, Jacob 291
Haines, Napoleon J 296
Hale, Joseph P 180
Hansing, Siegfried 426
Hazelton, Henry 288
Healy, P. J 350
Heintzmann, Theodore A 313
Herrburger, Josef 261
Herz, Henry 258
Hofmann, Josef 400
Ibach, Carl Rudolf 223
Ibach, Johannes Adolf 222
Ibach, Rudolf 224
Irmler, J. G 225
Irmler, Oswald 226
Isermann, J. C. L 238
Jacob, Charles 321
ILLUSTRATIONS 21
PAGE
Jacob, C. Albert 322
Janko, Paul von 80
Joseffy, Eafael 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, I. J 399'
Patzschke, C. W 240'
Perkins, Edward E 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 ILLUSTEATIONS
PAGE
ScMedmayer, Paul 232
Schmidt, John Frederick 381
Schomacker, John Henry 281
Schroder, Carl Nicolai 263
Schroder, Johann Friedrich 262
Schroter, Christoph 42
Schulz, Mathias 359
Schulz, Otto 360
Schwander, Jean 260
Seaverns, George W 127
Shoninger, Bernhard 316
Sohmer, Hugo 320
Smith, Freeborn G 315
Starr, Benjamin 348
Steck, George 318
Steger, John V 361
Steinway, Albert 311
Steinway, Charles 306
Steinway, C. F. Theodore 303
Steinway, Henry 307
Steinway, Henry, Sr 300
Steinway, "William 308
Sterling, Charles A 371
Stieff, Frederick P 290
Story, Edward H 376
Story, Hampton L 375
Tremaine, Harry B 329
Tremaine, William B 328
Vose, James Whiting 295
Votey, Edwin S 331
Watson, Henry C 416
Weber, Albert 297
Weickert, August Moritz 239
Weickert, Otto 241
Wessell, Otto 380
Wheelock, William E 326
White, Edward H 369
White, Henry Kirk 367
White, Howard 370
White, James H • 368
Whitney, Calvin 374
Wolff, Auguste 257
ILLUSTRATIONS 23
PAGE
Wulsin, Lucien 345
Wurlitzer, Rudolph 354
Yamaba, Torakusu ■ 266
Resonator, Richard W. Grertz'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 Spinnetti, 1503 32
Steinert at the Clavichord, Morris . . . Insert 427-428
Virginal, 16th Century 34
PART ONE
Technical Development of the Pianoforte
CHAPTER I
The Monochobd, Pythagoras, Guido of Arezzo, the Chinese " Ke."
The Clavicythekium, Italy and Germany.
The Clavichord, Daniel Faber, Bach, Mozart, Beethoven.
The Spinet, Giovanni Spiniietti.
The Haepsichoed and its development.
PIANOS AND THEIR MAKERS
PART ONE
Technical Development of the Pianoforte
CHAPTER I
The Prototype of the Pianoforte
The Monochord
THIS instrument was used by Pythagdras (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.
37
28
PIANOS AND THEIR MAKERS
The monochord came into universal use among the Greeks, and
also in the Roman churches as an instrument to sound the keynote
for chorus singing. To assure a quicker and especially more cor-
rect intonation, Guido of Arezzo (about 100 A. D.) invented the
movable bridge under the string of the monochord.*
Chinese Ke, 2650 B.C.
After the invention of the movable bridge for the monochord
further improvements came rapidly. The clavis (keys), which
came in use on church organs shortly after the year 1000 A. D.,
were applied to the monochord, 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 required 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 Chinese as early as 2650 B.C. used an instrument called " ke," far superior to
the monochord. 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 by the use of movable bridges, one for each string;
the number 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 instruments, and the virtuosos and masters of
the ke spoke of it and its use as enthusiastically and admiringly as Bach and Beethoven
spoke of the clavichord nearly 4,000 years later.
THE CLAVICHOED
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 ClavicytJieriiim
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
finally 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 AND THEIR MAKERS
Toward the end of the 16th and the beginning of the 17th century,
it was improved so much that it became the favorite keyed instru-
ment of the period. It maintained its supremacy during the 18th
century, long after the appearance of the pianoforte. The accom-
panying picture shows a clavichord with 50 keys (there are some
in existence with 77 keys) and a
soundboard with 5 bridges, simi-
lar to the Chinese ke. The sound-
board covers only half of the in-
strument, the part where the keys
are located being open of neces-
sity.
The clavichord usually has
more keys than strings, since
the tangent, in striking, gives
tone and pitch 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 performer had to manipu-
late the key so as to make each
tangent strike at the proper
place. This was rather difficult
and made the execution of any
but the simplest compositions
almost impossible. Still, it
was not until 1725 that a clavichord 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 strip of cloth was interlaced with the
strings.
Clavichord, 16th Century
THE CLAVICHORD
31
Tluis the clavichord possessed four of the most vital points
of the modern pianoforte: The independent soundboard, metal
strings, the ijercussioji method of agitating the string, the tangent
touching or striking the string, instead of plucking or pricking,
and lastly tJie application of the damper. 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
permitted the execution of most exquisite crescendo and decre-
scendo. The Jdaugfarlie (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 AND THEIR MAKERS
Spinet Jack
in interpreting a composition. In short,
the clavichord was the first keyed instru-
ment with a soul. It is not surprising that
such masters as Bach, Mozart and even
Beethoven preferred the clavichord to
the more powerful harpsichord and the
early pianoforte. Indeed, Mozart, while
traveling about Europe as a piano vir-
tuoso, carried a clavichord with him,
for daily practice. Mozart composed
his " Magic Flute " and other master-
pieces on that 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 speak louder.
The Spinet
About 1503 Giovanni Spinnetti, of Venice, constructed an in-
strument of oblong form,
with a compass of four oc-
taves. This oblong form en-
abled Spinnetti 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-
Spinet 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 upward 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 3% to 5 feet
wide. The smaller instruments could be easily carried about, and
were usually played upon a table, which increased the resonances.
Spinnetti had placed the keyboard outside of the case, but about
1550 Eossi 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.
Kossi's Spinet, 1550
34
PIANOS AND THEIE MAKERS
Careful comparisons of spinets and
so-called virginals, by competent
judges, have established the fact
that there is no vital difference
to be found.
Naturally, the various builders of
spinets in Italy, Germany, Flanders,
and especially England, experimented
in many ways to improve the volume
and quality of tone as well as the
form of the case. Eimbault repro-
duces a pen-and-ink-sketch of a
virginal, made harp fashion," ap-
parently built at the end of the
16th century, which might be
considered the prototype of
the upright piano of the pres-
ent day. If this drawing is cor-
rect, a rather complicated ac-
tion must have been used to
get the plectra in motion.
From specimens of spinets or virginals now extant, the conclu-
sion may be drawn that the European continental makers gave
the triangular form the preference, while English makers used
the square, oblong and upright forms. The quill or wing form (Ger-
man fliigel) identical with the form of the present grand piano
and later used entirely for the " harpsichord," seems to have
been first used by Geronimo of Bologna (1521).
Virginal, 16th 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 HAEPSICHOED 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, cjTubals, 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-
Harpsichord, 1521
36
PIANOS AND THEIR MAKERS
ing stop," which shifted 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 16 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 with Double Keyboard, End of 16th Century
THE HARPSICHOED
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 17th Century
38 PIANOS AND THEIR MAKERS
success. The fact that the harpsichord, like the spinet, gave the
player no possible opportunity to exercise any artistry, as on
the clavichord or the pianpforte, sealed the doom of the instru-
ment, and 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 wing-formed case, the use of the two
and three strings for one note, and lastly the forte piano pedal
and shifting keyboard, all of which are embodied in the present-day
piano.
PART ONE
CHAPTEE II
The Pianofokte, Christofori, Marius, Schroter, Silbermann, Back-
ers, Stein, German, Austrian and English Schools, Friederici.
The Squake Piano, Zumpe, Broadwood, Erard, Behrend, Albrecht,
Crehore, Osborn, Babcock, Chickering, Steinway, Mathushek.
The Upright Piako, 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
CHAPTEE II
The Pianoforte
THE desire to combine the wonderful tone sustainlzig 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' Downward Striking Hammer Action
41
42
PIANOS AND THEIR MAKERS
independent of one an-
other, should strike the
same idea at about the
same time — C'hristofori in
1707, Marius in 1716 and
Scliroter in 1717. Chris-
toph Schroter, a German
organist, submitted his
models of liammer actions,
one witli upward and one
witli downward movement,
to the King of Saxony in
1721, claiming tliat these
models Iiad been finislied
in 1717. Schi'oter de-
clared that the idea of a
hammer action came to
liim after liearing tlie vir-
tuoso, Hebenstreit, perform on his monster hackbrett (dulcimer)
called " Pautaleon." Simple and crude as Schroter 's action is, it
must be considered tlie fundamental of wliat later on became known
as tlie German, more particularly, " Vienna " action. The idea of
luiving tlie hammer butt swing in a fork, as Schroter 's model sliows,
Christoph Sehrijter
Marius' Upward Striking Hammer Action
THE PIANOFORTE
43
Dulcimer
S'chroter Upward Striking Hammer Action, 1717
ScliriJter Downward Striking Hammer Action, 1717
44
PIANOS AND THEIR MAKERS
Silbermann's Hammer Action, 1728
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
'b!~
.k- 1 H-
— H^
Li
^^mm '
1 •
Zumpe's Hammer Action, 1760-65
called Christofali) of Padua. A publication dated 1711 contains
a drawing of Christofori'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' Hammer Action, 1776
THE PIANOFORTE
47
stein's Hammer Action
of 1707. He added the 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
-'] talented pupil, Joliann
Andreas Stein of Au^'s-
I burg, however,' took tlie
Seliroter design as a basis
for liis improvement,
which is known as the
" Vienna " or " Ger-
man " action.
The greatest activity
in the development of the
pianoforte took place in
the periods from 1760 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 produce 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 tirst square piano in Germany. About 1760-65, Johannes Zumpe
built, at London, the first English scfuare jjiano.
C. E. Friederici
The Square Piano
This evolved from reconstructed clavichords, retaining the clavi-
chord form and general construction, but having a stronger frame,
metal strings and the hammer 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
instrument at Paris in 1776, copying the English model. Johann
THE SQUARE PIANO 49
Behrend of Philadelphia exhibited his square piano in 1775. Thus
within 10 years after its first 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
PIANOS AND THEIR MAKERS
Alpheus Babcock's Full Iron Frame, 1825
square piano reigned supreme for nearly one hundred years. After
Behrend we find Charles Alhrecht making excellent square pianos
in Philadelphia about 1789 and Benjamin Crehore founding the
Boston school about 1792 at Milton, near Boston, where John Os-
born and Alpheus Babcock were his most talented pupils. Indeed,
Alpheus Babcock's invention of the full iron frame in 1825 was
just as important an innovation and improvement as Broadwood's
Charles Albreclit's Square Piano, 1789
THE SQUARE PIANO
51
Jonas Chickering'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 THEIR MAKERS
Steinway's Full Iron Frame and Overstrung Scale, 1855
of the new scale. In this instrument the Steinways had not only-
succeeded in producing a much greater, sonorous tone, than known
heretofore, but had entirely overcome the harsh, metallic quality
of tone, so objectionable in other pianos 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 impetus and it developed very rapidly from then on. Im-
provements were continually added, among which the linear sound-
board bridge, invented by Frederick Mathushek in 1865, may be
considered as the most ingenious.
After the Paris exposition of 1867, the leading American manu-
facturers followed the example which the European makers had
set 30 years before, and began to push the upright piano to the
front. For the very reason that the American square piano had
been developed to a real musical instrument with a remarkable
volume, sonority and clearness of tone, equal in some instances
to the ordinary grand piano of the European makers, the progress
of the upright piano in America was very slow, and it was not until
1880 that the making of the square piano came to an end.
THE UPRiaHT PIANO
53
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
Tvas 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
"by 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
PIANOS AND THEIR MAKERS
ments. None are now in existence. Loud
emigrated to New York where lie built so-
called " piccolo " uprights with " over-
strung ' ' scale as early as 1830.
In 1807 William Southwell of London
came out with his " Cabinet " (upright)
piano, having a compass of 6 octaves, F to
F. In 1811 Robert Wornum of London
made his first upright with diagonally run-
ning strings.
The popularity of the upright in Europe
dates from 1826, when Wornum had devel-
oped an action for it which combined pre-
cision with durability and permitted of
repetition, 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 the
" Pleyel " action. With the exception
Wornum's "Upright Action,
1826
Southwell's Upright Piano, 1807
of changing the dampers
from their position above
the hammers to a more
proper place below the ham-
mers, this Wornum action is
practically used in all pres-
ent-day upright pianos.
Pleyel and other Paris
firms began now to make a
specialty of upright pianos
with such success that square
pianos hardly obtained a
foothold in France.
THE UPRIGHT PIANO
55
Germany began the manufacture of upright pianos in prefer-
ence to the square about 1835, and discarded the square 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 plates 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 pianos 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 piano about 1860 they adopted
Conover Bros.' Upright Iron Frame, 1885
56 PIANOS AND THEIR MAKERS
the now perfected system of overstrung scale and full iron frame,
and thereby produced an instrument which was acceptable, although
in tone and touch inferior to the best square pianos.
Germany was quick in adopting the overstrung scale and iron
frame for its upright pianos and forced England to do likewise
later on by capturing with their superior instruments much foreign
trade formerly monopolized by England, while France, Italy and
Spain came in last. By the time that the American square piano
became extinct (1880) the " American System " was universally
adopted for upright pianos. However, even the upright piano of
to-day might still be called " a remarkable bundle of inventions."
In its entirety it is an open defiance of all the laws of acoustics and
of proper mechanical construction.
Because of the necessarily heavy, clumsy frame construction
the soundboard is almost boxed in between back and front, so that
the sound cannot develop freely and fully. Whatever tone the per-
former gets from the upright piano, comes straight toward him
through the closed-in front, which " 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 complicated action, which 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 chance to escape, while in the open
square or grand pianoforte 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 popular instrument, notwithstanding its many shortcomings.
THE GRAND PIANO 57
can be easily explained. The growth 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 piece of ground. Paris started
the first so-called apartment houses in the beginning of the 19th
century. Hence the Paris piano makers were compelled to develop
upright pianos small enough to fit into the small rooms of the apart-
ment house, where grand or square 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 " perfect " 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 PIANOS AND THEIR MAKERS
rect lines — has ever been enticing to the inventive genius and to
the thinking constructor of pianofortes. We therefore find all the
early pianofortes of Christofori, Silbermann, Stein and other
makers possessing this wing form.
The craze of adding all sorts of unharmonic effects to keyed
instruments, as on the harpsichord, continued also for a while with
the grand piano, and we hear of instruments having bell, drum,
cymbal, triangle, etc., attachments. These vagaries, however, were
not accepted by the true artist and soon died out. The extent to
which this craze was finally carried is illustrated by the descrip-
tion of a grand piano built in 1796 by Still Brothers of Prague,
Bohemia, for the inventor, a musician by the name of Kunz. This
monstrosity had 230 strings, 360 pipes and 105 different tonal
effects. It was three feet nine inches high, seven feet six inches
long and three feet two inches wide, had two keyboards, one above
the other, and 25 pedals. The pedals had the following functions :
To lift the dampers, to produce lute effect, flute, flute traverse dul-
ciana, salicet, viola di gamba, sifflet, open flute, hollow flute, fagott,
French horn, clarinet and many others. The inventor evidently
attempted to obtain, besides the ordinary piano tone, also all kinds
of organ and orchestral effects, noisy additions which we find to
a smaller extent with the nickel-in-the-slot playing machines of
to-day.
The perfecting of the grand piano, or forte piano {fiugel, as
it was called in Germany), depended entirely upon the develop-
ment of an action capable of bringing 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 seriously engaged in solving this problem, to be finally out-
classed by Sebastian and Pierre Erard, of Paris. Backers'
grand action, completed about 1776, inspired Robert Stod-
THE GRAND PIANO
59
art of London to build his first concert piano which 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, iu 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 sympathetic 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-Streieher Grand Action, 1780
60
PIANOS AND THEIR MAKERS
Erard's First Iron Bar Grand Piano, 1823
Erard Repetition Grand 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
pianos (flugel) 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 1837, 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. Capo Tasto
62
PIANOS AND THEIE MAKEES
Chiekering Grand Iron Frame, 1843
Turning to America, we find that Loud Brothers of Philadelphia
built a grand piano of 7 /^-octaves about 1825, while John Jardine
of New York exhibited a 7-octave grand piano in 1835. Jonas
Chiekering patented his full iron frame for flat scale grand pianos
in 1843, a great improvement on Broadwood's combination of iron
hitch plate and resisting bars, establishing the fame of the Chieker-
ing concert grand. Sixteen years later, Steinway & Sons patented
their full iron frame for grand pianos with overstrung scale and
disposition 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 the plain scale and bracing system for many
THE GRAND PIANO
63
years. At the present
time all prominent mak-
ers liave adopted the
overstrung scale and full
iron or steel frames for
their grand pianos.
Noteworthy progress
has also been made in the
construction 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-
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
stein way Grand Iron Frame, 1859
64
PIANOS AND THEIR MAKERS
Baldwin Grand Case \\\t\\ Acoustic Rim
of the best tliouglits of the greatest masters in the art of piano
construction. The length of the modern concert grand is usually
nine feet, with a compass oilYi octaves. Ludwig Bosendorfer of
Vienna builds a concert grand of 10 feet in length, and a compass
of eight octaves. Going to the other extreme, some makers have
of late years 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 PIANO 65
is to satisfy the artist or musical amateur, as to volume and quality
of tone, and especially of a well-balanced, even scale.
The short grand, baptized by Albert Weber the ' ' baby grand, ' '
will be the instrument of the future. The clamor for an increased
full 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, Chick-
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 Wachtl & Bleyer, a Vienna firm of piano
makers, stated in a publication that 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 with 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 farther progress in tone volume was to be
made. Numberless experiments were made with metal tubes and
bars for braces, imderneath the soundboard as well as above, with-
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.
70
PIANOS AND THEIE MAKEES
With this invention the era
of the full iron frame was in-
augurated. That great mechan-
ical genius, Jonas Chickering,
patented in 1843 a full iron
frame for flat scale grand pianos.
He demonstrated the practica-
bility of this new system, and
the so-called Boston school at
once followed his example, using
full iron frames for grand,
square and upright pianos.
In Europe, Erard experi-
mented with iron bracing bars
about 1824, putting as many as
nine long bars over the sound-
board of his grand pianos.
Broadwood, more methodical and
scientific, studied to obtain the
necessary resistance with as few
bars as possible, and finally com-
bined an iron hitch-pin plate with his cross bars, which system
was patented in 1827. John Broadwood & Sons are now making
grand and upright pianos with " barless " steel frame, a notable
accomplishment, aiding materially in producing an even scale,
and also permitting the soundboard and strings to vibrate
unhampered and unaffected by iron cross bars. Another im-
portant effect is that the weight of the piano is reduced in pro-
portion. Hoxa of Vienna is on record with a patent for a full
iron frame for grand pianos in 1837. No doubt the European
makers of that period 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
Allen and Thorn's Grand Bracing
System, 1820
THE IRON FRAME 71
majority of the New Yorkers leaned toward the German school,
seeking quality rather than volume 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 efforts 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 pounds,
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.
PIANOS AND THEIR MAKERS
Steinway & Sons' Grand Iron Frame, 1875
I'"roiit View
THE IRON FRAME
73
Steinway & Sons' Grand Iron Frame, 1875
Back View
Showing " Cupola " Construction
PIANOS AND THEIR MAKERS
Wilheliii Grotriaii's Grand lion Tiame, 19
10
Baldwin Upright Iron Frame, 1910
THE IKON FRAME
75
John Broadwood &. Sons' Earless Grand Steel Frame, 1910
John Broadwood & Sons' Earless Upright Steel Frame, 1910
76
PIANOS AND THP^IR MAKERS
Mason & Hamlin Grand Iron Frame, 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 11th 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.
*Kirkman of London went to the extreme of building a grand piano in 1851,
having a keyboard of 6% octaves, 2 feet 21/2 inches wide, allowing only 1/2 inch for each
kev.
78
PIANOS AND THEIR MAKERS
C'hidsniu"s Concave Keyboard. 1910
Since the developmeBt of the pianoforte many experiments
have been made with so-called " chromatic " keyboards, in which
tlie semitones were on a level with the fnll 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 attempts have been made of late to revive this idea, but
without any result.
About 1780, Neuhaus, a 2)iano 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 Cludsara
of Germany, who obtained i)atents on such a keyboard and is seri-
ously attempting its introduction.
The most ingenious and really meritorious invention, revolii-
tionary in its character, is the keyboard patented in 1882 by Paul
von Janko of Austria. Moved l:)y the 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 produced by reach-
PIANO KEYBOARDS
79
im»mmm»mm»MmmB§mmMmmimmwmm\
Janko-Peizina 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 sweep 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 indifference 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 THEIR, MAKERS
fingers were used to the stiff percussion of the English action.
To-day, however, English makers of concert grand pianos use the
Erard action which Chopin disdained !
The piano virtuosos and teachers of the present day are oppos-
ing the Janko keyboard because its universal adoption would
mean for them to forget the old and learn the new. The music
publishers object to it, because their stock on hand would depre-
ciate iu value, as the Janko keyboard naturally requires different
fingering than that now printed with the pub i shed compositions.
For many years the professional ])iano players could rightfully
object to the somewhat unelastic touch of the Janko keyboard.
This objection has been completely 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
kej^board, iu its present
form, is thoroughly prac-
tical, and destined to in-
augurate a new era for
the piano industry, its
universal success and
adoption seem to be im-
<7
PIANO KEYBOARDS
81
Pfrzinii's Key for Janko Keyboard, 1910
paired by the appearance of the player piano, wliich enables the
musical amateur to enjoy his own performance of the most diffi-
cult compositions with hardly any exertion on his part. It remains
for a coming Titan of the pianoforte to lift the Janko keyboard
out 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 AND THEIR MAKERS
Perzina's Action for I'ractice Clavier for Jaiiko Keyboard
1
T
T
Perzina's Practice Clavier with Jaiiko Keyboard
PIANO ACTIONS 83
Paul von Janko, noble of Enyed, was born June 2, 1856, at
Totis, Hungary. After finishing his preparatory studies, he en-
tered both the Polytechnicum 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
LTniversity under Helmholtz. The immediate result of these
researches was the keyboard which bears his name. From 1882
to 1884 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 Schwerin, 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 tone similar to the harp and
zither, sufficiently loud for the player, but not offensive to suffer-
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 keyboard.
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
PIANOS AND THEIR MAKEES
The action being the motive power of the piano, . so to speak,
gave the restless empiric full reign for the most fantastic experi-
ments. That a large number of the ablest piano makers of their
day should, for instance, struggle with the problem of a down-
ward striking action for grand pianos seems remarkable, but that
a genius like Henri Pape should expend a fortune in money and
many years of unceasing labor on the same problem, after such
masters as Stein, Loud, Sackmeister, Hildebrand, Streicher and
many more had given up the struggle as hopeless, seems inexpli-
cable.*
Loud's Downward Striking Action for Square or Grand Pianos, 1827
Although the very principle of the downward striking of the
hammer is of itself contrary to the law of gravitation, and as a
mechanical proposition ridiculous, Pape not only persisted in his
own efforts but transmitted his faith in this action even to his
* While employed by Fred Mathushek (1867-69) the writer was instructed to
try and put 12 square pianos, having a downward striking action, in salable con-
dition. These instruments had been built by Mathushek and for years rested peacefully
in the attic of the factory building. After wrestling with them for about one week
all hope of success was abandoned and the .suggestion made to Mathushek that the
furnace of the steam boilers in the factory was the most economic place for those
pianos. The suggestion was adopted.
PIANO ACTIONS
85
pupils, such, as Mathushek, 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
Eather 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 regularly and
correctly from stage to stage that a Darwin would enjoy the study
thereof. Schroter's hammer action of 1717 is a model of inno-
86
PIANOS AND THEIR MAKEES
cent simplicity. Even he had the notion of striking the string from
above as well as below. The drawing for his down striking action
shows, however, no possibility for lifting the hammer away from
the string after striking. It appears that Schroter depended en-
tirely upon the counterweight of what might be called the hammer
butt. Naturally, such a clumsy 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.
Johann Andreas Stein's Action, 1780
Christofori showed in his first model (1707) real mechanical
genius. His jack permitted an escapement, although faulty. Fur-
thermore, the silken cord, interlocked crosswise to catch the ham-
mer shank in its fall after striking, was undoubtedly designed to
facilitate repetition. In his model of 1720 he succeeded in devising
a positive acting escapement and substituted for the unreliable
silk cords a rigid back check for catching the hammer. Indeed,
Christofori laid down all the laws for the requirements 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 Sclirbter 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.
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 considered a success.
It seems that he merely tried to produce an action of less cost
than the complicated Christofori. Americus Backers, however,
88
PIANOS AND THEIR MAKERS
invented in the same year an action on the Christofori principle
which combined simplicity with all the good points of the Chris-
tofori action. The Backers invention has to this day remained
the fundamental model for the English action in its various modi-
fications, as illustrated in Broadwood's grand action of 1884.
That independent thinker and mechanical genius, Sebastian
Erard, departed from both Schroter and Christofori, when he
Erard's Grand Action, 1821
constructed his double escapement and repetition grand action,
patented in 1821. This action is a most ingenious combination of
the light elastic touch, characteristic of the Vienna action, with
the 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 pianos. 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 English 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 THEIE MAKERS
Wessell, Nickel & Gross' Grand Action, New York, 1890
Langer Grand Action, Berlin, 1909
Keller's Grand Action, Stuttgart, 1909
91
Herrburger-Schwander Grand Action, Paris
Siegfried Hanging's Grand Action, New Yorli, 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 AND THEIR MAKERS
had nothing else in its favor than its cheapness. This unsatisfac-
tory action was no doubt, to a large extent, responsible for the
unpopularity of the early upright piano.
Robert Wornum of London accomplished for the upright piano
what Sebastian Erard five years earlier had done for the grand
piano. It was in 1826 when Wornum patented his " piccolo "
upright action, which has remained the prototype of all upright
actions used at the present time. The Wprnum action made the
upright piano a practical instrument. Active minds among the
Friederici's Upright Action, 1745
T 7
English Sticker Upright Action, 1820
PIANO ACTIONS
93
fL/.LUI. ^
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
pianos.
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 THfilR MAKERS
Brinsmead Upright Action
PIANO ACTIONS
95
(^^
Langer Upright Action
Herrburger-Scliwander Upright Action
96
PIANOS AND THEIK MAKERS
Seaverns Upright Action
Showing Metal Flange
Wessell, Nickel & Gross' Upright Action
PIANO HAMMERS
27
Development of the Piano Hammer
The hammer used by Christofori, Silbermann and other early
makers consisted of a small wooden block 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 permitted the use of heavier strings, the
leather hammer proved insufficient, and we find Alpheus Babcock,
98
PIANOS AND THEIR MAKERS
of Boston, taking out a patent in 1833 on a hammer covered with
felt. Two years later, P. F. Fischer of London (a friend of
Henri Pape) obtained an English patent for piano hammer felt.
It is surmised that this patent is really for an invention of Henri
Pape of Paris, who at that time experimented with hair felt for
hammer covering, cutting up soft beaver hats for that purpose.
Getting very good results therewith, but not being able to slice
this hairy hat felt thin enough for the treble hammers, Pape in-
duced a hatter to make a hair felt in sheets tapering from a quar-
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 tapered hammer felt belongs to
Pape.
Hammers Covered with Leather and Felt
We now find the following combination in the hand-made ham-
mers of those days : Directly 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 buckskin. The elkskin was soon replaced by
a firm felt called underfelt, which was not only more economical,
but also firmer than elkskin, possessing the required elasticity.
PIANO HAMMERS
99
Gradually the sole leather was replaced by another underfelt, 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 cry 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 THEIR MAKERS
Frederick Mathushek's patent of 1850 was for a hammer-cover-
ing machine of much simpler construction than Kreter's. It was
patterned after the Wilke machine, the frame built of wood, with
10 iron screws, five each for down and side pressure. About 1863
Benjamin Collins, a piano and hammer maker of Boston, came
out with an improvement on the Kreter machine. In Kreter's
as well as Mathushek's machine, the covered hammer had to stay
in the machine until the glue had thoroughly hardened. Collins,
taking Kreter's iron frame machine as a pattern, changed it so
that the caul or form into which the hammer is pressed 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' machine, like others, was too
light in construction to make the heavy hammers demanded for
Dolge Hammer-Covering Machine, 1887
PIANO HAMMERS
101
Dolge Hammer-Covering Machine, 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 THEIR MAKEES
Single Coat Felt Hammer for Grand
Pianos
Single Goat Felt Hammer for Upright
Pianos
Opinions differ very much as to tlie value of single coat ham-
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 aiithor made, in his
factories at Dolgeville, N. Y., for Steinway & Sons, hammer felt
one and three-fourth inches thick in bass and weighing 22 pounds
to a sheet, which measured 36 inches wide and 43 inches long. This
extraordinary thick felt was used for concert grand piano ham-
mers, and although splendid results were achieved, the heavy
hammer affected the touch too much. It is now generally agreed
that felt weighing 17 to 18 pounds to a sheet is sufficiently heavy
for grand hammers, and 13 to 14 pounds is the usual weight of
felt used for upright hammers.
While the modern hammer-covering machine does turn out a
much more uniform hammer all through the scale than could pos-
PIANO HAMMERS
103
sibly be produced by the best artisan by the handmade method,
further progress and improvements are necessary in order to
produce a perfect hammer which will require less needle work
on the part of the voicer or tone regulator. With the present
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
PIANOS AND THEIE MAKERS
Gardner, for years master mechanic in the Alfred Dolge Felt
Company factories, Dolgeville, Cal., built this machine under the
author's instruction and supervision, and designed and originated
many important detail improvements. Similar to the Collins
machine, the cauls are removable after the felt is glued on to the
molding, and it is estimated that two expert gluers can cover
about two hundred and forty set of hammers in ten hours on one
machine. While speed and saving of floor space are desirable
in modern manufacturing, the main object sought for in this
machine is the production of a hammer having an even gradation
in texture. It is entirely within the control of the operator to
give the hammer any desired degree of firmness -with this
machine.
Exhaustive experiments which the alithor has made during the
past thirty years in the construction of automatic hammer-cover-
ing machines, to be operated by steam or hydraulic power, have
led to the conclusion that compressed air is preferable in every
respect, because the cylinders are instantly and independently
controlled by a turn of a valve.
Mention must be made of a patent ob-
tained in 1893 by John Ammon, a New York
piano maker, for a process of gluing a strip
of tapered hammer felt together and then
inserting the same into a wooden hammer
head, having two prongs on top. Ammon 's
motive was to economize felt. It does require
much less felt by Ammon 's method than glu-
ing the felt around the molding, but the ham-
mer designed by Ammon is utterly imprac-
ticable for many reasons, principally because
it is impossible to get the treble hammers of
sufficient firmness to produce a satisfactory
tone. Ammon Hammer
PIANO HAMMERS
105
Alfred Dolge saw in Ammon'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 produce 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 prongs which
are shaped by the ordinary wood-steaming process into a
Steinway Saturated Hammer
Molding for Ammon-Dolge
Hammer
Ammon-Dolge Hammer
106 PIANOS AND THEIE MAKERS
clasp. The clasp-like prongs reach beyond the center of the
glued-up felt. As shown in the illustration, the felt is forced
into the clasp and then secured by a metal agraffe, passing
through both prongs of the clasp, tightening the prongs so
firmly on the felt that a flattening out of the felt is impossible,
except through its weai'ing off. It is readily perceivable that the
foundation of the hammer so constructed must be of a firmness
and solidity not attainable by the old method of covering. Not
only that the center part of the felt is glued together very tightly,
but the felt itself is pressed between the firm shoulders of the
clasp, thus becoming one solid body with the wooden head. The
author had a grand piano containing such hammers at his home,
and although his five boys used this piano almost daily for their
pratice for several years, the hammers showed very little usage
and wear. It is, of course, important that only the very best,
most densely interknitted felt, should be used for hammers of
this type. Instead of reducing the cost, as Ammon intended, the
improved hammer of this type costs fully twenty-five per cent,
more to produce than the ordinary. The author is of the opinion
that this improvement in hammer making will finally prevail,
especially since much greater durability is required 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 much enlightenment as to the
proper and correct laying out of a scale, also the laws controlling
the production of sound by percussion and otherwise, but none
of these scientists can advise as to the scientifically correct con-
struction of the soundboard. The much coddled theory of " tone
SOUNDBOARDS 107
waves " found its most obstinate opponent in the soundboard of
the pianoforte, disproving forcibly almost every argument brought
forward in favor of this theory. Not finding any assistance from
scientists, the piano maker had to rely entirely upon empiric ex-
periments, to construct a soundboard best adapted to his scale.
All the experiments, 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 fir, strengthened by bars or ribs glued
on crossways. The various writers on piano construction differ
materially regarding the importance of the soundboard in relation
to tone development in the piano. 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 THEIE MAKERS
Matliushek and Moser, whose double soundboards were glued to-
gether so that the grain of the one crossed the grain of the other
at right angles. This method of construction makes any transverse
vibration impossible, and instruments containing such boards are
not inferior in volume and quality 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 producing the sound; namely, the percussion of the
string by the hammer. This important discovery will assist mate-
rially in the further search for soundboard improvements, but
even Hansing admits that for the present the piano 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 Goll of
Vienna using iron and copper with reasonable succesn in 1823;
but, no doubt, the primitive conditions of the metal industries of
those days made the use of metal too expensive, as compared 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 with the Mathushek factory
in 1867-69, exhaustive experiments were made to find the most
responsive thickness for a soundboard. With boards from fully
one inch in thickness, without ribs, graduated down to boards only
three- sixteenths 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 quality.
The thick boards responded with a thick, somewhat stiff, woody
quality, the pianos with the thinner boards had a more sympa-
thetic, soulful, but weaker tone. The most satisfactory tone quality
SOUNDBOARDS 109
was found in the pianos which had the " regulation " soundboard,
three-eighths of an inch thick in treble, tapering off 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
affected 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 patent 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,
110
PIANOS AND THEIR MAKERS
thereby increasing the inten-
sity of tone produced by the
striking of the liammer
against the string.
Another function of this
resonator is to restore the
original arched form of tlie
soundboard when, through
age or atmosplieric influ-
ences, the same has given
away to the pressure of the
strings.
The tension rods witli the
conical sliaped liead, inserted
into the rim, draw together
the entire rim upon wliicli
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.
Radiating from the center of the piano to all parts of the rim
the tension rods can be screwed up, either simultaneously to bring*
pressure upon the entire board, or individually if any part of
the soundboard should show a pronounced flatness. 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
pianos made by Mason & Hamlin since the granting of the patent.
Experience 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-
Bottom of (iniiid Piano showing Eicliaid W.
Ciei'tz's Tension Resonator
SOUNDBOARDS
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. We 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, such
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,
Washburn & Moen, Houghton, Smith, World's Fair Tests.
Actions, Brooks, Isermann, Gehrling, Herrburger-Schwander,
Morgenstern & Kotrade, Lexow, Langer & Company, Fritz &
Meyer, Keller, Frickinger, Seaverns.
PART ONE
CHAPTER IV
THE DEVELOPMENT OF THE MANUFACTUEE 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
116 PIANOS AND THEIR MAKERS
Wood Used in Piano Construction
It is not so many years ago since the piano maker of Germany
was obliged to go to the forest and buy at auction such logs as
he might select for his purpose. If a sawmill was near by, he had
his logs delivered there, giving the sawyer special instruction as
to how to saw each log. Oftentimes the logs had to be transported
to his factory yard, where they had to be sawed into planks and
boards by two men 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 prominent factory in London, this process still
in vogTie in 1879.
With the introduction of power-driven woodworking machinery,
the millmen and lumber dealers began to specialize, and supplied
the piano maker with selected boards or planks, sawed to the thick-
ness and length required. Receiving the lumber from the mill,
it was carefully stacked up 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 experiments have been made to force the sap 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 with the
costly air drying process, 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 the piano 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 positive necessity.
SOUNDBOAEDS 117
Some of the large piano manufacturers of America carry as
much as three to five million square 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 pianos, 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
split, 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 AND THEIR MAKERS
The Bohemian and Swiss manufacturers of soundboard lumber
prepared their product most carefully. After cutting out all knots,
shakes and other imperfections, the rough boards were smoothed
off by handplaning, cut into lengths of from 4 to 8 feet and then
carefully packed in boxes 2 feet wide, containing 60 layers each.
Length and width of board dictated the price of the lumber,
boards 8 feet long, 4 boards to the layer, bringing nearly twice as
much per square foot as boards 4 feet long and having 5 or 6
to the layer. In America, soundboard lumber was sold as it came
from the sawmill, and the piano maker could hardly ever utilize
more than forty per 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-
board 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 planer with bed and knives five feet wide must
be mentioned. 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 planing
machine cylinder. I constructed a machine planing 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 sandpapering machine. The best work-
man could not finish over 10 boards per day with a handplane.
PIANO CASES 119
Fully 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 "Washington, 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 years 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 PIANOS AND T^HEIR MAKERS
try, and the " compiler " of the various ready-made parts of a
piano does, beyond doubt, produce a better commercial instrument,
than if he should attempt to make each part of the piano in his
own shop.
The tremendous growth of the piano industry has, on the other
hand, developed individual concerns, which turn out from 5,000
to 20,000 pianos per year. Such firms, of course, avail themselves
of the advantages of labor-saving machinery in all 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 their own iron plates.
The London manufacturers were the first to introduce power-
driven machinery in their factories. As far back as 1850, some
of their leading firms were producing from 2,000 to 3,000 pianos
per annum, a quantity which made the use of steam-power
machinery an economic proposition. Machinery is only economic
when it can be continually employed. The piano maker with a
limited production cannot avail himself of that advantage. Con-
sequently, as a matter of commercial and industrial evolution, the
specialists, such as case makers, key and action makers, have
become indispensable to the industry. They made possible the
production of a reliable, satisfactory instrument, at a price 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 by 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 densely matted. Julius Caesar
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, 18S5, 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 PIANOS AND THEIR MAKERS
is thoroughly carded and then formed into sheets. Since almost
every piano maker has his own peculiar notions as to the thickness
and tapering of the 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 sheet of felt
weighing about 12 pounds when finished, measuring one inch in
thickness in bass, and tapering down to one-eighth of an inch in
treble, being about 38 inches square, would measure 10 inches
in thickness in bass, one inch in treble 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 the above-mentioned size and thickness. No chemicals are used
by any good felt maker in the fulling process, only soap and hot
water being applied.*
In 1874 the author invented a process by which the wool is
fed through the cards in accordance with a correct mathematical
calculation, so as to form on an apron or belt 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 his hammer felts the highest awards
at the World's Fairs of Vienna, 1873; Philadelphia, 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 piano makers of Europe.
* Many piano makers have the erroneous idea that the fine white dust, which
they observe when sandpapering the hammers, is composed of chalk. The admixture
of chalk would almost kill the fulling process. The white dust referred to is pure
wool, finely ground by the action of the sandpaper file of the piano maker.
PIANO HAMMEES AND WIRE 123
The felt factories founded by Alfred Dolge have been amalga-
mated with a number 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
1845, 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
pianos, 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 1834.
124 PIANOS AND THEIR MAKERS
This cast steel wire was so superior to the iron wire that the
English firm soon had a monopoly.
But in 1840 Martin Miller of Vienna came out with a wire
superior to Webster's and a strong competition began, especially
when Rollason & Son, Smith & Houghton and others also took up
this industry in England.
Miller's wire continued, however, to be in favor with most
of the German piano makers, until Moritz Poehlmann of Nurem-
berg started to make his world renowned product about 1855. In
the first competitive test, Poehlmann 's wire proved to be of greater
density than Miller's, but not of equal tensile strength. Miller's
wire would, however, stretch much more than Poehlmann 's, con-
sequently would not stand in tune as well as Poehlmann 's much
denser, better hardened wire. At the Paris Exposition of 1867
the Jury 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 improve 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
remarkable success not only incited his competitors to greater
effort, but caused the starting of a number of new wire factories
in Germany.
In America Washburn & Moen of Worcester have made very
good piano wire since 1860. The American wire always had an
exceedingly high polish, hardly ever attained by 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. Offlcial Test by the Jury of the World's Exhibition, Paris,
1867.
Pleyel, Wolff & Company's testing machine used.
MoRiTz Poehlmann's wire Nos. 13 14 15 16 17 18
broke at a strain of Lbs. 226 264 292 296 312 348
English wires broke at a strain of . . ... 214 274
2. Offtcial Test by the Jury of the World's Exhibition, Vienna,
1873.
MoEiTz 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.
MoEiTZ 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 AND THEIR MAKERS
The records of the World's Fair at Chicago, 1893, show the
following report of the test of Poehlmann's wire made by Judges
Max Schiedmayer of Stuttgart and George Steck of New York:
No. 13 Measuring .030 of an inch broke at a strain of 325 lbs.
" 14 " .031 " " " " " " " " 335 "
" 15 " .034 " " " " " " " " 350 "
" 16 " .035 " " " " " " " " 400 "
a 1 1T a 037 " " " " " " " '< 41 5 "
How successful Poehlmann has been in improving his product
is best illustrated by the following 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
Vienna, 1873 232 261 291 300 336
Philadelphia, 1876 265 287 320 331 342
Chicago, 1893 325 335 350 400 415
Since 1893 no authoritative tests are on record, but considering
the severe tension to which the present-day piano maker exposes
the wire, and as all the different 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 Industry
The very first auxiliary industry of the piano 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 1810. L. Isermann of Hamburg, (now merged with
Langer & Company, of Berlin), began business in 1842. In 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. liis 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 THEIR MAKERS
finished butt. This economic way of producing actions has been
made possible because of the fact that nearly all of the American
piano makers use the same model, the only material difference
being in the lengths of the pilots or tangents which connect the
action with the key.
Iron Plates, Pins, Etc.
The casting, bronzing and pinning of the iron frames have kept
pace in every way witTi the advancement of the piano. America,
in particular, has for years produced the very best of castings,
solid in grain, smooth in finish. The example set by Steinway &
Sons, in their foundries at Steinway, Long Island, had a beneficial
influence on all plate 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 breaking
or cracking of plates is a trouble of the past.
Even in this industry, automatic machinery begins to lessen the
cost of production. The other metal parts in the piano, brass and
nickel tubes for action rails, brass butts and flange rails, are manu-
factured by specialists. The making of wrest or tuning pins
is an industry which for over 60 years has been monopolized by
a limited number of manufacturers in Westphalia. They have so
far managed to retain this monopoly by making excellent pins at
a price so low as not to invite competition.
Very good tuning pins are now made in a factory near New
York. Time will tell whether this enterprise can hold out against
the low wages of "Westphalia, because years ago the Westphalian
manufacturers adopted the use of automatic machinery, which
turns plain wire into a finished tuning pin, 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 deyelopment, 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 THEIR MAKERS
greater achievements to-morrow, and thus soon become obsolete.
The author has to confine himself, therefore, to a documentary-
description of what appear to be the most important inventions
of the development of the player piano, in their chronological
order, without attempting to discuss their merits or demerits,
excepting those upon which final judgment has been passed by that
infallible tribunal, the purchasing public.
Inquiring into the origin of the player piano mechanism, we
find that the idea of applying automatic attachments to keyed
instruments engaged many of the harpsichord and pianoforte
builders of the 17th and 18th centuries, as illustrated by their efforts
to augment the scdpe of their instruments with orchestral effects,
set in motion by pedals, swells, etc. Apparently the first successful
attempt to play 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 diapason or the principal 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 hour's time to play with great exactness and
with their proper graces, either single or double, with preludes
and interludes, all psalm tunes, fuges, volunteries, and anthems-
that are usually sung in churches or chappells, 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 keys ; and this is performed entirely without vowls or barrels,
and in a third part of the room, the musick being prickt 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 play 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.
Jacquard, of silk-loom fame, seized upon Vaucanson 's idea, and
in 1802 added an endless piece of cardboard to the cylinder, per-
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 of Paris patented his pianista, a device
134
PIANOS AND THEIR MAKERS
Fourneaux's Pianista
wMcli through pneumatics pressed " fingers " upon the piano keys
as indicated by the perforated cardboards. This mechanism was
exhibited at the Philadelphia Exposition in 1876, 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 player.
For imknown reasons this invention was not further developed,
and became obsolete because of its limited possibilities and high
cost.
About 1868 John McTammany constructed a mechanism for
automatic playing of organs, substituting for the crank and per-
forated cardboard of Fourneaux a foot-pedal action and narrow
sheets of perforated flexible paper with winding and rewinding
THE PLAYER PIANO
135
m
//////j///fi/j/j/jjj///j///j////f)j/j///fj//jjj/j/j/j/j////j//j/////j//j///f/f///f//,f,.
F-jga
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 pneumatic, yet
ISfi
PIANOS AND THEIR MAKERS
it did not have individual
pneumatics for eaeli tone.
The next important
step in the development of
tlie player mechanism was
Merritt Gaily 's device,
patented in 1881. It cre-
ated a sensation at the
time, hut has never been
commercially exploited.
Bishop & Downe of
England were granted a
patent for a keyboard at-
tachment for musical in-
struments in 188.3. Per-
haps for the reason that
the mechanism had to be
set in motion by turning
a crank, precluding any
exercise of indivicUiality, this invention did not succeed com-
mercially.
In 1886 Ct. B. Kelly invented a wind motor with slide valves
opening and closing ports to pneumatic motors. This form of
motor was at once adopted, and, upon the expiration of the patent,
came into general use in all the factories in the world.
On May l-t, 1886, Charles A. Kuster filed his application for
a patent on a mechanical instrument, which was granted on April
19, 1887. Kuster 's construction differed entirely from Bishop
& Downe's, as well as from Gaily 's. It seems, however, that
Kuster did not know how to make his invention popular and to
secure for it proper recognition.
R. W. Pain is perhaps the first who constructed a pneumatic
self-playing piano. In conjunction with Henry Kuster he built
THE PLAYER PIANO
137
'v/yy/,;/////,::,^^.^
■lH^iiiiiiiiil'-
□□ifjga
iL:"LliiiJJOVg»'
John McTammany's Automatic Playing Organ, 1868
such 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 MAKEES
Merritt Gally's Player Mechanism, 1881
or automatic operation, having a system of pneumatic operating
mechanism controlled hy a perforated music sheet.
Suitable wind-inducing apparatus or motor, and such mech-
anism, permanently introduced into the structure of the instru-
ment, operating upon the rear ends of the manual keys, not
interfering or preventing use of the piano for ordinary manual
operation. This interior player mechanism was manufactured by
the Wilcox & White Company of Meriden, and sold under the
name of Angelus Piano Player to piano dealers in Boston, Phila-
THE PLAYER PIANO
139
Bishop & Downe's Keyboard Attachment, 1883
George B. Kelly's Wind Motor with Slide Valves, 1886
140
PIANOS AND THEIR MAKERS
14
THE PLAYER PIANO
141
1^
i
-4->
s
142
PIANOS AND THEIR MAKEES
o
cS
^
THE PLAYER PIANO
143
«
s
I'
1
C3
^
^
144
PIANOS AND THEIE MAKEES
White and Parker's Combination Upright Piano and Reed Organ, 1895. (Fig. 3)
delpMa, etc., and the patent was assigned to and controlled by
the Wilcox & White Company.
On November 29, 1895, Edward H. White and Wm. D. Parker
filed application for a patent, which was granted December 15,
1896, for a combination of the automatic upright 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 with 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
PIANOS AND THEIR MAKERS
ikJd
Fig. 2
Fig. 3
White and Parker's Cabinet Piano Player
THE PLAYER PIANO
147
up and on to any kind of a
piano, whereby the 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.
Fig. 4
^HIllV
*T^
L
as
'^Ll/'
Fig. 5
Fig. 6
White and Parker's Cabinet Piano Player
148
PIANOS AND THEIE MAKERS
X iii 2 A ^
-cr
Fig. 7
'^i12Ji1\*|i"^^'''^''''''''''''''''''|1!jV'' to"'"' ''"'"'^ "'"""'
ii
J, nnn
3t&
nannnnnnnnnnnDDDnnnoDnDnan
-^■^ \ ■■ \ \ ^ v'-t \ \ " ^ 'A >v \ ^ \ V \ \ rr\ \ \ WT'Tr
IE
on
Figs. 8-12
White and Parker's Cabinet Piano Player
THE PLAYEE PIANO
149
p^
f^
0
I-
OS
d
I
do
150
PIANOS AND THEIB MAKEES
Theodore P. Brown's Interior Player, 1897
known to the trade as the " Simplex." These cabinet players,
now almost obsolete, curiously enough seemed to be preferred by
the public to the player piano. The fear of the piano 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 unsightly and unhandy cabinet player. This
popularity was largely increased when Edwin S. Votey's pneu-
matic piano attachment was put upon the market under the name
of " Pianola," and pushed by a most aggressive advertising cam-
paign on the part of the manufacturers, the Aeolian Company of
New York; Votey filed his application on January 25, 1897, and
a patent was issued to him on May 22, 1900.
THE PLAYEE PIANO
151
<C<C£
,_MMMMM1M
Figs. 1 and 2
Figs. 3-5
Melville Clark's Transposing Device, 1899
152
PIANOS AND THEIR MAKERS
Figs. 1-4
Melville Clark's Transposing Device, 1902
Comparing the drawings of the White-Parker and Votey
patents, it is obvious at first glance that the three inventors
worked, although at the same time, on entirely different lines to
accomplish their object.
From 1898 to 1906 many patents, too numerous to mention,
were granted for improvements in player mechanism. Among
them are Melville Clark's transposing device, patented on May
30, 1899, and September 30, 1902, which has been adopted by many
manufacturers of player pianos.
In 1898 F. Engelhardt & Sons commenced to make their
" Harmonist " player, having acquired the patents granted to
F. R. Goolman, on February 1 and April 26, 1898. Their '' Peer-
less Piano Player," a coin-operated electric pneumatic instrument,
was also placed on the market in the same year. This firm controls
THE PLAYER PIANO
153-
F. R. Goolman's Harmonist Player, 1898
Paul B. Klugh's Auxiliary Key, 1906
154
PIANOS AND THEIR MAKEES
A. J. Hobart'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 player actions prior to 1898 were so constructed that they
played only 65 notes of the 88 of the piano scale. This necessi-
tated the rearrangement (often mutilation) of modern .composi-
tions written for 88 notes.
Melville Clark introduced in 1901 his ' ' Apollo ' ' player with an
88-note tracker board, an innovation which has been adopted by
most player manufacturers for the good of the instrument.
Thomas Danquard 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 PLAYEK PIANO
155
harshness of contact and imparting
elasticity without interfering with the
function of the piano action.
To overcome the objectionahle
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. Klugh 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 fortg 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
156
PIANOS AND THEIR MAKERS
mmm\
s
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3
ti
3
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THE PLAYEE PIANO
157
Peter VVelin's Individual Valve 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 ' ' Welte 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-
158
PIANOS AND THEIR MAKEES
Fig. 1
Ludwig Hupfeld's Phonola Player, 1902
ing for posterity the wonderful playing of a Joseffiy, Eosenthal, De
Pachman, Busoni and other virtuosos.
However, the music-loving amateur requires the pleasure of his
own interpretation, the only real pleasure anyone can get out of a
piano. We have at present the " Metrostyle," invented by F. L.
Young in 1901, enabling the amateur to follow the intention of the
composer as to the proper metronomic rendering of his com-
position; the " Themodist," invented by J. W. Crooks in 1900;
the ' ' Phrasing Lever, ' ' patented in 1903 by Haywood ; the " Tem-
ponome, ' ' invented 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. 2
Figs. 3 and 4
Hupfeld's Phonola Player, Showing Divided Bellows for Bass and Treble Section
160 PIANOS AND THEIR MAKERS
volume of tone, invented by P. K. Van Yorx ; besides the many in-
genious improvements of Kelly, Dickinson and other inventors,
whose fertile brains are continually engaged in making player-
piano history by improving and simplifying the mechanism of to-
day.
As time passes on, the beauty and scope of the player piano
will be appreciated in the same ratio as people learn to perform
upon it properly. Teachers must be trained to give instructions
on the player piano just as manual piano playing is taught at
present. It not only requires practice, 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 phrasing in rendering a composition
depends mainly upon the artistic use of the pedals. 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 musical instrument for the home of
the future, barring all others, and the growth of the player in-
dustry depends entirely upon the activity and enterprise of the
player manufacturers. The instrument is as yet in its infancy.
Eventually a player piano will be evolved with an action which
will be capable of producing the long-sought-for effects of tone
sustaining, losing its mechanical character entirely, and thus be-
coming the superior of the present-day piano, 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
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162
PIANOS AND THEIR MAKERS
Keelej'-Danquard Temponome, 1911
PART TWO
Commercial Development of the Piano Industry
CHAPTER I
Italy, Christofori, Fischer, Sievers, Roseler, Mola.
Germany, Silbermann, Stein, Nannette Stein, Streicher, ScMed-
mayer, Ibach, Eitmiiller, Rosenkrantz, Irmler, Breitkopf &
Hartel, Bliithner.
France, Erard, Pleyel, Herz, Gaveau, Bord.
England, Tschudi, Broadwood, Kirkman, Zumpe, CoUard, Brins-
mead, Hopkinson.
America, Chickering, MacKay, Nunns & Clark, Gilbert, Steinway.
PART TWO
CHAPTER I
History of the Commercial Development of the Piano Industry
IT is difficult to make a piano, but much 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
166 PIANOS AND THEIR MAKERS
ITALY
It is not to be wondered that Italy and the Netherlands pro-
duced those beautiful, artistic spinets, clavichords and harpsi-
chords, enshrined in most artistic cases, embellished with rich
carvings, or like the clavichords of Hans Ruckers, with paintings
of the great Flemish masters of those days. Both the Netherlands
and Italy were then at the zenith of their commercial supremacy,
their ships bringing riches from all parts of the globe. This great
accumulation of wealth brought about the age of Renaissance in
Italy. The enormously rich nobility and the wealthy burghers
generously supported Michael Angelo, Raphael, DaVinci and their
contemporaries, encouraging the creation of their master works
by 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 pursue 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 Christofori and the Duke when the
latter could show to his court the great invention of Christofori.
However, as the proud Italian noblemen of that period eschewed
the idea of commercializing the creations of their artists, not
many pianofortes were built by Christofori. Nor were the condi-
tions favorable for an immediate exploitation of the invention.
Italy's trade was chiefly with the Orient, where pianofortes could
not be sold. The larger cities of Europe nearly all had clavichord
makers of their own, and the overland transportation of so large
an instrument was very costly and slow.
COMMEECIAL 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 Koseler of Berlin, who established himself at Turin.
Eoseler 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.
GERMANY
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 PIANOS AND THEIR MAKERS
at that time, it is reasonable to assume that Silbermann received
at least five times the amount of the actual cost of the instruments.
Saxony remained for a long time the center of piano making in
Germany, and from the shops of Silbermann came nearly all the
pioneers who spread the industry over the continent of Europe
and Great Britain. The so-called 12 apostles (12 German piano
makers), who landed in London about 1760, were nearly all Sil-
bermann pupils, and became the pioneers of the English piano
industry. Among them were Zumpe, Backers (Becker), Geib and
others, whose names later on appeared in the London city directory
as pianoforte makers.
Johann Andreas Stein, undoubtedly the most talented of Sil-
bermann's pupils, went to Augsburg and made his first piano in
1768. His daughter Nannette, with her husband, Johann Andreas
Streicher, later on moved to Vienna, founding the " Vienna
school " of piano makers. Balthasar Schiedmayer made his first
piano at Erlangen in 1735. Johann David Schiedmayer continued
the business at Nuremberg, and his son Lorenz moved to Stuttgart
in 1809, where he became the founder of the " Stuttgart school."
Next we hear of Johannes Adolf Ibach, who started near Barmen
in 1794. Andreas Georg Ritmiiller commenced business at
Gottingen in 1795, and Ernst Rosenkrantz 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
principalities 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 quietly await a customer. To
advertise a piano for sale would have been considered an unpar-
donable sin against the ethics of the craft. It required the revo-
lutionary nerve of the pathfinders after the middle of the 19th
century to brush away that prejudice. Just as soon as the
COMMERCIAL 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 Bliithner 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, Eeinecke 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
Bliithner ever spare printer's ink in order to tell the world what
fine 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 off 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 PIANOS AND THEIR MAKERS
Export merchants saw the possibilities of using the German
piano for successful competition against the English make in
foreign countries, and a lively export trade was soon estab-
lished. Piano dealers became active in every city, town and hamlet.
At the present time almost every schoolteacher in the villages of
Germany is the agent for one or more piano makers.
The practice of " peddling " 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 Berlin makers of low-
priced pianos about 1866. It is now generally practiced in
America.
After 1873 Germany started upon a wonderful career of in-
dustrial revival. That far-seeing statesman, Bismarck, 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. Furthermore, he subsidized the merchant
marine and cheapened transportation on land, all in order to
enable the German manufacturer to gain a foreign trade. How
! effectually the German piano trade has made use of these advan-
tages is illustrated by the fact that over 20,000 pianos were shipped
from Germany to England alone during 1909. Considering that
up to 1860 England was leading the world in the production of
pianos, this fact speaks volumes for the enterprise of the German
piano manufacturers and the quality of their product.
German pianos to-day dominate all foreign markets, excepting,
of course. North America, not on account of low prices, but mainly
because of the advanced commercial methods followed by the
German manufacturer and merchant, who is ever willing to accom-
modate himself to the demands of his customers, meeting the
buyer's peculiar taste for style and tone of the piano and also
his methods of transacting business.
COMMERCIAL DEVELOPMENT 171
Germany has to-day about 300 piano factories, some of them 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 16 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 PIANOS AND THEIE MAKERS
ENGLAKD
When Johannes Zumpe went from Silbermann's shop to Lon-
don in 1760, it seems that he was at once infected with the com-
mercial bacteria, rampant in that greatest commercial and financial
center of the world. No one holds the title to the name ' ' father of
the commercial piano " so indisputably as that industrious Ger-
man. He found the aristocratic Tschudi, Broadwood, Kirkman
and others making high-priced harpsichords, and later on equally-
costly grand pianos, and quickly decided to build a piano at a
price within reach of the well-to-do middle class. To reduce cost,
he simplified the Christofori action, adopted the square form of
the clavichord and thus was first in putting upon the market a
square piano at a moderate price. This piano, although without
merit, either as to workmanship or tone, filled a long-felt want,
and Zumpe amassed a fortune within a comparatively short
time, upon which he retired at an early age. Kirkman,
landing in London in 1740 as Jacob Kirchmann, a German harp-
sichord maker, was even more successful than Zumpe. He
left an estate valued at about $1,000,000 when he died in
1778.
The financial successes of Kirkman, Zumpe, Broadwood and
others attracted capital to the industry, and London became the
birthplace of the modern piano factory, where steam-driven ma-
chines were employed. London piano manufacturers utilized cir-
cular saws, planing machines, etc., as early as 1815. In the days
before the steam railroads, London was an ideal place for piano
manufacturers. Not only did they control a fine home market,
among the great landowners, rich merchants and manufacturers,
but they also had absolute control of the export business to foreign
countries by reason of England's supremacy of the seas. It is
COMMEECIAL DEVELOPMENT 173
reported that in 1851 London 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, CoUard, 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 PIANOS AND THEIR MAKERS
Yet tlie prevailing economic policy of the British Government is
a great handicap for the English manufacturer, making it impos-
sible for him to even control his own home market, as is done by
the manufacturers of all other countries.
AMEEICA
North America, the new world, presented entirely different
conditions to the piano industry than the old world. Although
without nobility or aristocracy, its natural resources produced
wealth at such a rapid pace that even in its early days the piano
industry of America 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 piano maker and inventor, Jonas Chickering,
had the good sense to associate himself, in 1830, with 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. At the World's Fair, London, in 1851, Chickering ex-
hibited the first American pianos shown in Europe, and carried
off the highest honors. Meyer of Philadelphia, Nunns & 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 partner, MacKay, Chickering, being far in the
lead of all other American piano manufacturers, did not continue
the aggressive business policy inaugurated by MacKay, and lack-
ing an inspiring leader, the industry progressed very slowly from
1840 to 1855, when Steinway & Sons appeared. Their methods of
persistent publicity were as revolutionary as those later on adopted
by Bliithner in Germany. 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 only 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 Eubinstein 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 Commeecial Piano, Joseph P. Hale.
The Stencil, Depaetment Stores, Consolidations.
PART TWO
CHAPTER II ,
The Commercial Piano
UP to this time nearly all tlie 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
PIANOS AND THEIR MAKERS
tradition or lorejudice of
anj' kind, lie manufactured
' pianos as lie would have
manufactured bedsteads.
A genius as an organizer,
lie carried tlie division of
labor to the last point, so
that he could reduce his
labor cost to less than half
' of what his competitors
paid. Buying his cases,
keys, actions, etc., from
specialists at bottom prices,
for cash on delivery, he was
not obliged to carry a big-
stock of lumber or other
material. 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 supply of stock on hand.
It will be readily understood that Hale could sell his pianos
far below the cost price of a high-grade piano and still make a good
profit. These revolutionary methods caused bitter antagonism on
the part of his competitors of the old school. Hale went on with
his business complacently, and argued that the makers of high-
class pianos were all wrong in antagonizing him, because, by his
low i)rice, he was bringing the piano within the reach of the work-
ing classes. Once introduced there, out of each 10 buyers of his
cheap pianos, at least one would develop within 10 years into a
good piano player, who would then not be satisfied until he pos-
Joseph p. Hale
sessed a high-class instrument.
THE COMMERCIAL PIANO 181
Hale's prophecy has 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 New 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 THEIE MAKERS
Stencil
The much-abused and scandalized stencil has been legitima-
tized, inasmuch as many manufacturing concerns trade-mark one
or more names other than their firm name, and use such trade-
mark names for specific pianos made in factories built especially
for this purpose. Again, dealers often obtain a trade-mark for
a certain name, which they use on pianos built especially for them,
all of which is now considered quite proper and accepted by uni-
versal usage.
Department Stores
While the manufacturing of a large number of pianos has
become a comparatively easy matter, being merely a matter of
factory space, machinery, system and proper organization, the
distribution of the manufactured goods is becoming a more and
more vexing problem. The general demand has of late years
impelled some of the leading department stores in the large cities
to add pianos 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 appears as if the small dealer will eventually have to quit the
field, unless he is strongly supported 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 Fosteir,
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 Aet Piano, Geronimo, Trasunti, Hans Ruckers, Shudi, Broad-
wood, Sir Alma Tadema, Steinway, Marquandt, Norman, Sir
Edward Poynter, Theodore Roosevelt, Denning, Bosendorfer,
Empress Elizabeth, Ihach's Jubilee Grand, Baldwin, Barnhorn,
Guest, Bliithner, Erard, Pleyel, Lyon S Co., Chichering's
Louis XIV Grand, Everett's Sheraton Grand, Samuel Hay-
ward, Knabe'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 ET is described as the "harmonious beautiful." An
/-^k 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
be 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 THEIR MAKERS
Art is a passionate expression of ideal conception and develops
only after a nation has accumulated sufficient wealth to enable
some of its higher intellects to devote themselves to art and science
without regard to financial reward. The true artist dreams, thinks
and works for art's sake only. He is altogether too sensitive for
barter and trade, and needs the freedom of financial independence,
the enjoyment of luxuries and the inspiration of the beautiful as
a necessary stimulant and requisite.
The first art pianos were constructed by the early Italian
makers. After Geronimo had invented his wing-formed harpsi-
chord, 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 Greronimo's efforts and built
special cases detachable from the body of the instrument. These
cases were decorated with exquisite carvings, embellished with
inlaid ivory designs and often with pictures painted by masters.
That celebrated maker, Hans Ruckers of Antwerp, called on
his friends among the great Flemish painters to enhance the
beauty and value of his harpsichords by painting pictures upon
them. Indeed, his connection with the artists was so intimate that
he, as well as his son and his nephew, were elected members of
the " Painters Guild, of St. Luke." Many specimens of the old
Italian and Flemish school are to be found in the collection of
old instruments of Paul De Wit 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
upon many of these instruments oftentimes represent a value
much greater than that of the piano alone.
Cost is never considered in the building of an art piano. The
designer and executing artists are given full liberty to work out
their ideas in accordance with the desired style. Burkat Shudi
THE ART PIANO 189
built for Frederick the Great a highly 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 York
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 Poynter 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-hundred-
thousandth piano built in the factories of Steinway & Sons. It
was presented by that firm to President Eoosevelt, 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,"
190 PIANOS AND THEIR MAKEES
published in 1894, the one-hundredth anniversary of the founding
of their firm, ought to be in the hands of every studious piano
maker. It contains a most excellent collection of designs, many
of which would 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
Baldwin art grand. The realistic tendency of the modern school
is depicted in a masterly manner in the sculpturing of Mr. C. T.
Barnhorn, also in the general design of the case by Mr. I. H. 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 building 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 piano of Pleyel, Lyon & Company' is a beautiful
specimen of Renaissance design, while the upright shows a most
effective application 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 hy John Anderson, with paint-
ings by Samuel Hayward, is a specimen of the Everett Company's
art work. The " Nouveau Art " grand of Knabe & Company
is from their catalogue of art pianos, in which all dominant styles
are represented.
Nearly all the leading firms of piano makers during the past
twenty years have added special departments to their establish-
ments for the creation of art pianos, employing their 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 harmony with the architecture of the room in which it is
Alessandro Trasunti's Art Harpsichord, 1531
Hans Ruckers' Double Spinet, with Paintings, Antwerp, 15G0
John Eroadwood & Sons' Art Grand, Built for Sir Alma Tadema
Ludwig Busendurfer Art Grand. Built for Empress Elizabeth of Austria
Rudolf Ibach Sohn Jubilee Art Grand
Juiius BUithner Art Grand
Erard Art Grand
Designed by Coupri
Pleyel, Lyon & Company Renaissance Art Grand
Pleyel, Lyon & Company Gothic Upright
Steinway & Sous Art Grand Piano made for Frederick Marquandt
of New York City. Cost $40,000
Steinway & Sons Oiie-liundred-tliousandth Piano, at the White House, Washington, D. C.
Paintings by Thomas W. Denning. Cost $20,000
Baldwin Art Grand
AA eber Louis XIV Art Grand
CliiekeriiiL' & Sons Louis XIV Art Grand
Everett Piano Company Sheraton Art Grand
William Knabe & Compauy " Nouveau Art" Grand
THE PEDAL PIANO 191
to "be placed. This extended use of correct styles in art pianos
has favorably influenced the general 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 Kobert 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 placed at the back of the piano where a special soundboard,
covered 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 very satisfactory re-
192
PIANOS AND THEIR MAKERS
Carl J. Pfeifler's Action for Pedal Upright Pianos
Carl J. Pfeififer's Attachment for Pedal Grand Piano
THE PEDAL PIANO
193
Carl J. Pfeiffer's Upright Piano for Pedal Practi^
Carl J. Pfeiflfer's Mechanism for Organ Pedal Practice
194 PIANOS AND THEIR MAKERS
suits. U^ng the iron frame and overstrung system, his pedal
tones are sonorous and powerful and the pedal action almost the
same in touch as the organ pedal. His independent pedal can
be easily attached to a grand piano, as shown in the illustration,
while for upright pianos the pedal is placed under the framework
of the piano. A very ingenious and valuable invention is Pfeiffer's
mechanism for organ pedal practice, which can be built into any
upright piano and used without affecting the touch for hand play-
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 recommended, not only for practice purposes, but also
for the music lover who enjoys the study of Bach's immortal pre-
ludes and fugues or Schumann's beautiful sketches for pedal
pianos, not to speak of Liszt's Orpheus and transcriptions of Grott-
schalk's repertoire, and others.
Pfeiffer'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 player piano has forged
rapidly to the front during the past 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 public became acquainted
with the possibilities of player mechanism. The cabinet player
became obsolete as soon as properly constructed player pianos at
moderate prices appeared on the market, 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 player 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
ExpoBT, Steinway, Aeolian.
Methods of Mabketing, 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. When 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
199
200 PIANOS AND THEIR MAKERS
living, an American city with a population of 100,000 can and does
buy more pianos than any South American republic with 2,000,000
inhabitants, of which only a small fraction are able to wear shoes.
Australia, with its 5,000,000 people, does not take over 3,000
pianos per year. Japan is beginning to make its own pianos, while
China, with a population 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 offers almost everywhere for American
player pianos of competitive value or superior quality.
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
impossible as long as regularly appointed agents control the sale,
and although leading houses publish their retail prices to the
public, competition forces deviation in ma-ny 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 was a most interesting study to play
and compare the Erard with the Steinway, the Chickering with
METHODS OF MARKETING 201
y
the Pleyel, the Broadwood or Collard with Bosendorfer or Bliith-
ner, and Sehroter with Schiedmayer, so interesting that I gave
up 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 THEIR MAKERS
turning out about 91,500 pianos and 92,750 organs per year, of a
total selling value of $22,235,000
Cost of labor and material amounted to 13,362,500
Leaving a margin for profit and expenses of $ 8,872,500
If all or at least a majority of the manufacturing concerns
could be merged into one great corporation, it would be possible
to carry on a business of manufacturing pianos and organs, mak-
ing only four kinds of instruments : namely.
First, artists' pianos and organs, which should be of the high-
est grade and command the highest prices paid now for such instru-
ments. Second, a first-class instrument. Third, a medium-grade
instrument. Fourth, a low-grade instrument.
It was proposed to capitalize this corporation at fifty million
($50,000,000) dollars. Fair and just value was to be allowed to
each concern for its property. The affairs of the corporation were
to be managed by a Board of Directors, elected by the share-
holders and chosen from the ranks of the most experienced men
engaged in the manufacture and sale of pianos and organs.
The General Purchasing and Contract Company was organized
under the laws of West Virginia, with a capital of $1,000,000.
This contract company was to conduct the purchase 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 May 12, 1892, the contract company entered into an agree-
ment with a syndicate, composed of a number of leading New York
bankers who obligated themselves to provide capital to the amount
of $5,000,000, to facilitate the purchasing of such manufacturing
concerns as either 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 plants and chattels.
THE TRUST MOVEMENT 207
One of the main reasons why the leading bankers were invited
to assist in the enterprise was to insure their active support 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 AND THEIR MAKERS
and corporations saw the great advantage to be obtained, to as-
sure the success of the undertaking, when the great panic, 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 up well as compared with other
industries. Comparatively few failures were recorded, and at
the end of that long period of business depression the industry
could even boast of an increase in production. 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 proposition 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 up 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 first 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 scheme offered. Besides, an unexpected wave of pros-
perity such as the piano industry had never before experienced
began to make itself felt and almost everybody was perfectly sat-
isfied with existing conditions.
In the light of the marvelous development 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 procession 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, Guido of Arezzo, Spinnetti, Geronimo, Cliristofori, Fischer,
Sievers, Eoseler, Mola.
Germany, Silbermann, Stein, Nannette Stein, Streicher, Bosen-
dorfer, Seuffert, Ehrbar, Schweighofer, Heitzmann, The
Ibachs, Eitmiiller, Eosenkrantz, Irmler, The Schiedmayers,
Kaim & Giinther, Dorner, Lipp, Wagner, Pfeiffer, Eohlfing,
Knake, Adam, Heyl, Vogel, Lindner, Meyer, Mand, Gebauhr,
Thiirmer, Steinweg, Grotrian, Zeitter & Winkelmann, Busch-
mann, Eachals, Scheel, Bliithner, Eonisch, Feurich, Isermann,
"Weickert, Poehlmann.
England, Shudi, Broadwood, CoUard, 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
Introdiiction
ONE of the remarkable peculiarities of the 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 sucL
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 piano. 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 Mangfarhe. This individuality is so carefully guarded that
we find older firms always reluctant to adopt new methods
213
214 PIANOS AND THEIR MAKEES
of construction or other innovations. They fear that any change
may rob their instruments of their most cherished individuality,
their characteristic tone and klangfarbe.
Not only the tone quality and volume reflect the maker's indi-
viduality, the workmanship of the entire piano is guaranteed by
the maker's name, and his name will live or die as his instru-
ments are built to last or not. The reputation of the instrument
which a piano maker produces follows him beyond his grave, often
for generations.
In due appreciation of the overshadowing importance of a
proper name and its commercial value, many of the leading mem-
bers of the craft did not hesitate to give up 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 quite
properly so! Would not an unpronounceable name on the fall
board kill the best piano as a commercial proposition? Not to
think of its impossibility on a concert program!
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 piano. 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 progenitors' in-
born ability. If that were not so, we would have more Eafaels,
Eubens, Shakespeares, Goethes, Wagners or Darwins. On the
contrary the real genius usually exhausts his talents during his
lifetime, and new blood has to be injected to maintain the standing
of firms founded by men who ranked far above their contempo-
raries. Notable exceptions simply prove this rule. To maintain
MEN WHO MAKE PIANO HISTOEY 215
the exalted position of a leading firm, proper respect must always
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 volume and quality of
tone in harmony with its fundamental individuality. This requires
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 PIANOS AND THEIR MAKERS
was so great a genius, so strong a character, that historians of
later days did not hesitate in crediting to him all the progressive
events and inventions in the realm of music happening in Guido 's
time, some going so far as to ascribe to him even the invention of
the clavichord.
No records are available, telling us anything regarding the
Venetian Giovanni Spinnetti, who invented the spinet about 1503 ;
nor of Geronimo 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
Florence, engaged in building clavichords, spinets and other musi-
cal instruments for the prince and his courtiers. Whether Chris-
tofori allowed his genius to drive him to over-exertion, or whether
the sybaritic life at the court of the wealthy and luxurious
prince shortened his 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. Mola of Turin has built up a very large business and is
to-day the mainstay of the industry in his country, but he has
not gone on record as an independent constructor. Roseler, who
also founded a large establishment 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 piano con-
struction and established a factory at Naples about 1865, came
from St. Petersburg, and Carl Fischer, preceding Sievers at Na-
ples, came from Vienna.*
' Fischer's sons came to New York about 1840, founding the firm of J. & C. Fischer.
MEN WHO MAKE PIANO HISTOEY 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 had 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 large
church organs and made quite a number of pianos. His nephew,
J.ohann 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 THEIE MAKERS
Johann Andreas Stein had a creative mind. An organ builder
by profession, he learned piano making in Gottfried Silbermann's
shop. About 1754 he established himself at Augsburg, making
pianos, and while there he built the great organ in the Church of
St. Francis. In 1758, seeking a larger field, he went to Paris, tak-
ing some of his pianos along, but the gay metropolis was appar-
ently not ready for pianos. Disappointed and almost penniless
Stein returned to Augsburg, where he again began to build pianos.
He invented the " hopper action " and many other improvements.
Mozart, in a letter to his mother, pronounced Stein's pianos
superior to any others that he had played upon. Stein's pianos
were copied everywhere, especially by the Vienna makers, so that
Stein may rightfully be called the father of the Vienna school.
He built about 700 pianos and several church organs. He was born
at Hildesheim in 1728, and died at Augsburg, February 29, 1792,
in his 64th year.
His talented daughter, Nannette, had learned the art of piano
making under her father's tutelage, besides being an accomplished
pianist. She played in concerts and had also played for Mozart
and Beethoven., Soon after her father's death she moved to
Vienna, where she continued the business with her brothers,
Andreas and Friedrich. In 1794 she married Johann Andreas
Streicher, and although her husband soon took an active part, the
piano business was carried on under the name of Nannette
Streicher, geb. Stein, until 1822, when her son Johann Baptist
Streicher was admitted to partnership and the firm name was
changed to Nannette Streicher & Sohn.
Johann Andreas Streicher, born at Stuttgart, on December
13, 1761, attended the renowned Karl Schule at Mannheim, to-
gether with Friedrich Schiller, whose friendship he retained
ever after. Leaving the school Streicher devoted himself
entirely to the study of music, especially the piano, 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 Kullak, 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
6y2 octaves, which was considered quite an accomplishment in those
days. Nearly all of Beethoven's compositions were created on
pianos built by Nannette Streicher. She closed her eventful career
by passing away at Vienn'a, 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 world-wide reputation. He changed
the firm name to J. B. Streicher & Sohn in 1857, when his son
Emil 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 Bosendorfer
stands foremost. Born at Vienna in 1795, a pupil of Brodmann,
he established his business at Vienna in 1828. After 30 years of
active life, during which time he added many valuable 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
PIANOS AND THEIK MAKERS
cepting modern ideas as far
as his inborn admiration for
the " Vienna tone " would
permit, and produced pianos
which to this date hold their
own successfully 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 BUlow gave a recital at
the opening. Bosendorfer 's
gi'and pianos are to tliis day
the favorite instruments of
many of the leading virtuo-
osos, and his factory ranks
foremost in the production of artistic pianos. In recognition
of his services to the industry, the Emperor of Austria ap-
pointed Bosendorfer purveyor to the court, conveyed the title
of Imperial Commercial Counselor, and bestowed the decora-
tion of the " Golden Cross of Merit with the Crown," upon him.
Friedrich Ehrbar, born on April 26, 1827, in Hanover, was an-
other of those remarkable men who carved their fortunes out of the
rock of privation 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 schoolboy, by making guitars for himself and com-
rades, the organ builder, Frederici of Hanover, consented
Ludwig Bosendorfer
MEN AYHO HAVE MADE PIANO HISTORY
221
to take him as an ap- r
prentice. He had to serve
fully seven years. Al-
though after that his mas-
ter was anxious to retain
his 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
Ehine to Frankfort, Nu-
remberg and via Eegens-
burg to Vienna. At Han-
over he met Henry Stein- L
weg, who had also start-
ed out on his " Wander-
schaft," and the two young piano makers formed a lasting intimate
friendship. Eeaching 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 World's Fairs of Lon-
Friedrich Ehrbar
099
PIANOS AND THEIR MAKERS
Johannes Adolf Ibacli
don in 1862 and Paris in
1867, Elirbar's pianos were
awarded first prizes. The
Emperor of Austria honored
liim witli decorations and tlie
title of purveyor to the court,
and at tlie Vienna Exposition
of 1873 lie served as juror
for the musical instrument
exhibits.
Progressive by nature,
Ehrbar was among the 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
February 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 firm.
J. Fritz & Sohn, established in 1801, Karl Dorr in 1817, Otto
Heitzmann and Josef Schneider's Neffe in 18.39, are all builders of
good pianos, sustaining the time-honored reputation of the Vienna
l^iano industry.
Following the good old Grerman custom to go " wandern,"
that is, to travel for a number of years on foot from country to
country, stopping 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 mal<:ing
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 Paidolf Ibaeh
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
PIANOS AND THEIR MAKERS
his pianos in competition
witli otliers and always re-
warded witli the customary
honors.
Like his fatlier, he sacri-
ficed his health for his am-
bition, and died at Barmen,
April 25, 1863, leaving the
care of liis business upon
tlie shoulders of liis son,
Rudolf Ibacli, who changed
the firm name to Rudolf
Ibacli Solm. Although only
20 years of age when his
father died, young Rudolf
inaugurated a most aggres-
sive campaign, just as soon
as he had found his bearings. He was an exceptionally 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 ability, brought astounding results, and in
a few years under Rudolf's leadership the factory had to be en-
larged to meet the growing demand for Ibacli pianos. In his
extended travels he came in contact with the leading musicians
and composers of his day. Himself a very magnetic and interest-
ing man, he drew others to him. Richard Wagner honored him
by dedicating a life-size photograph with the inscription " Seineni
freundlichen Tongehilfen Rudolf Ibach dankbarlichs Richard Wag-
ner, 1882. ' ' What a strong indorsement of the piano maker, Rudolf
Ibach!
Taidolf Ibach
MEN WHO HAVE MADE PIANO HISTORY
225
Liszt, Sauer, aud many
other virtuosos have played
the Ibach grands. Eudolf
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
designs for artistic piano
cases, awarding adequate
cash prizes to the winners,
so that the leading archi-
tects of Germany found it
worth their while to participate. It i;vas 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. Walter 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 Eudolf,
J. G. Irmler
226
PIANOS AND THEIR MAKEES
■■'^.'wlFi
whose duties and cares had
grown ahnost beyond one
man's endurance. Like his
fatlier and grandfatlier, Ru-
dolf Ibach had gone beyond
his strength, and passed
^ away at the early age of 49
years, on July 31, 1892.
The great business which lie
built up is carried on by his
sons, under tlie guidance of
their uncle, Walter Ibach.
In 1795 Andreas Georg
Eitmiiller began making
pianos at tlie old university
town of Gottingen. It is not
known where he learned his
trade, but liis pianos were
well built and tlie business founded by him has continued with
marked success to the present day.
Ernst Philip Rosenkrantz, born Jul}^ 10, 1773, served his ap-
prenticeship with Heinrich Ludolf Mack of Dresden, and started
on his own account in 1797. His son Friedricli Wilhelm succeeded
him after liis deatli in 1828. He gained a worldwide reputation
for his instruments, doing especially a large export business to
North America. The firm has maintained its reputation for liigh
grade instruments and enjoys an enviable position among the
Dresden makers of to-day.
Born at Obergrumbach near Dresden, Johann Christian Gott-
lieb Irinler studied piano making with the masters at Vienna and
came to Leipsic in 1818, where he founded the house of J. G.
Irmler. He built very good grand, square and upright pianos,
Os\\ald Irmler
MEN WHO HAVE MADE PIANO HISTORY
227
and some of his earliest pro-
ductions can be found at the
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
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.
Johann David Scliiedmayer
228
PIANOS AND THEIR MAKERS
Leading virtuosos such as
Biilow, Friedlieim, Henselt,
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 Schiedmayer, 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, Johann David
Schiedmayer, 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 Schiedmayer, sought a larger
field for bis activities and we tmd 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 & Sohne.
Always progressive, this firm produced upright pianos as early
as 1842. At the 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 Sthieilniayer
MEN AVHO HAVE MADE PIANO HISTORY
229
He wears the title of
" Privy Counselor of Com-
merce " and is also presi-
dent of tlie 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 Schiedmayer,
Julius and Paul Schied-
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 iirm 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, Eoumania, etc. Distinguished by the award of 45
diplomas of honor and prize medals, at the fairs where their
Adolf Schiedmayer
230
PIANOS AND THEIR MAKEES
Hermann Scliiedmayer
' pianos were exhibited, the
iirm was awarded the grand
prize at the World's Fairs
of Paris in 1900 and St.
■ Louis in 1904.
Julius Scliiedmayer was
i appointed Counselor of
j Commerce by the King of
Wurtemburg-, and chosen as
juror of the piano exhibits
• at the World's Fairs of
London, 1862; Stettin, 1864;
Paris, 1867; Vienna, 1873;
and Philadelphia, 1876. He
also received decorations
- from the Emperor of Aus-
tria and the Kings of Wur-
temburg and Italy, in recog-
He died at Stuttgart, January,
nition of his valuable services
1878, his brother Paul following him in 1891.
Under the energetic guidance of Paul's son, Max Scliied-
mayer, the renowned firm is constantly adding to its pres-
tige and honor. Like his illustrious uncle and father, Max
Scliiedmayer lias served as juror at exhibitions, notably at
the great World's Fair of Chicago in 1893, and at Brussels in
1910.
In 1819 Kaim & Giintlier began to make pianos at Kirchheim
near Stuttgart, building up a large business. The firm was even-
tually dissolved, the grandson of Kaim doing business under the
firm name of " Kaim & Sohn." Giintlier 's sons adopted the
firm name of " Giintlier & Sohne." The latter have the appoint-
ment as the purveyors to the court of Wurtemburg.
MEN WHO HAVE MADE PIANO HISTORY
231
Among tlie noteworthy
firms of Stuttgart must be
mentioned F. Dorner &
Solm, established in 1830,
Richard Lipp & Sohn, in
1831 and Hermann Wag-
ner in 1814. The firm of
A. J. Pfeiffer was founded
in 1862. The present head
of the house, Carl J. Pfeif-
fer, has devoted mncli atten-
tion to the construction of
l^edal pianos for pedal prac-
tice of organ players. He
has also been very indus-
trious in collecting models
of piano actions for the
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 Gebrtider 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 Heilbronn, 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
PIANOS AND THEIR MAKEES
eastern border of Ger-
many. In the same
year Ferdinand Tliiirmer
opened liis shop in Meis-
sen, to be followed a j^ear
later by Heinrich Engel-
hardt Steinwes' at Seesen.
His son Theodor Steinweg
removed his business to
Brunswick, after the elder
Steinweg left with his
family for America in
1850.
Joining in 1865 the
meantime established firm
of Steinway & Sons in
New York, Theodor Stein-
weg sold his business to
three of his workingmen, Grotrian, Helfferich and Schulz, who
adopted the firm name of Theodor Steinweg Nachfolger. This firm
ranks to-day among the foremost of Germany under the able man-
agement of "Wilhelm Grotrian and his sons.
Traugott Berndt started in Breslau in 1836, and the highly
respected firm, Zeitter & Winkelmann of Brunswick in 1837.
In Hamburg, Gustav Adolph Buschmann commenced making pi-
anos as early as 1805. Mathias Ferdinand Rachals followed in 1832.
Eachals, born at Mitau, June 3, 1801, had studied with Brix of
St. Petersburg and Sachsossky of Cassel. His pianos were of the
highest order, and he was especially successful in constructing a
detachable piano for tropical countries. Eachals died September
6, 186G, and was succeeded by his son, Eduard Ferdinand, who
continued to spread the fame of the firm. Born at Hamburg, May
Paul Schiedmayer
MEN WHO HAVE MADE PIANO HISTORY
233
-JJE»^.^W.,?K^...
Matliias Ferdinand Raclials
4, 1837, he learned piano '
making m his father's shop,
and afterward studied in tlie
leading factories of Paris,
London and Ziirich. Eachals
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. Eachals & Company received a
special diploma for their excellent instruments. Adolf Ferdinand
Eachals succeeded his father in 1902.
Carl Sclieel 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
PIANOS AND THEIR MAKERS
I'
"r-v-'^t«',-'
I
^ ^
^
1
1
J
t'^'^i
1 ^ _,
^^^
Hh."^ -^ I^^rB^^^^H
1 ^^^^^^HfHH^Hj
f
im
& Spangenberg of Zeitz, and
studied under Alexander
Bretsclmeider, tlie renowned
builder of grand pianos, at
Leipsic, until 1853, when he
started in business on his
own account. Handicapped
by lack of a broader educa-
tion, Bliithner had to dig his
way to prominence. He
was fortunate in the pos-
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 contrilmte something more to his art than mere
industrial activity, Bliithner made many experiments to improve
the piano. In order to enhance the volume and singing quality
of tone in the upper octaves, he revived Hans Ruckers' fourth
string system, calling his device the " Alir|uot System." He also
invented a grand action. Calling to his aid able young men of
literary ability, Bluthuer used printer's ink to great advantage
and his fine instruments soon found a market in all quarters of
the globe, so that his production in 1882 had risen to an annual
output of 1200 grand and 1800 upright pianos. Bliithner pub-
lished, in conjunction with Gretschel, a treatise on piano making,
of which several editions have been sold. The King of Saxony
honored him with the appointment of Privy Counselor of Com-
merce, and he also received decorations from his King, the Duke
Edward Ferdinand Eachals
MEN WHO HAVE MADE PIANO HISTORY 235
of Saxe-Coburg and the
Grand Duke of Mecklen-
burg-Scliwerin. He died
at Leipsie in 1910 in liis
eight}-- seventli year.
None of the modern
makers of G-ermany lias
done as mucli to procure
for the German piano the
prominence which it en-
joys at tlie 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 Thuringians. 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
OQ,
36
PIANOS AND THEIE MAKERS
received numerous decora-
tions, both from his King
and Emperor, as well as
otlier rulers, and was ap-
pointed purveyor to the
courts of nearly all tlie reign-
ing emperors and kings of
Europe. He died at Berlin
in 1908 at the age of 82.
i\.mong the many firms
that, during the past 50
years, have been more or less
active in expanding the piano
industry of Germany, C.
Weidig of Jena, founded in
1843; Carl Eonisch of Dres-
den, founded in 1845 ; and
Julius Feurich of Leipsic,
established in 1851, deserves special mention.
Carl Eonisch, born at Goldberg, Silesia, in 1814, experienced
all the privations of poverty in his youth, but his inborn talent and
determination finally got the better of adverse conditions. With-
out capital, but having unlimited faith in his ability, he began to
make pianos at Dresden and in time had the satisfaction of
shipping the product of his factory to all parts of the globe. In-
deed, Eonisch was one of the pioneers in exporting German pianos.
His grands and uprights became so popular in Eussia, that he
found himself compelled to erect a factory in St. Petersburg. Ee-
warded with highest awards at all expositions, wherever his pianos
have been exhibited, Eonisch was also personally honored with
decorations of distinction, and appointed purveyor to the Court
of Saxony. He died July 21, 1893, at the age of 80. The great
Carl Beelistein
MEN WHO HAVE MADE PIANO HISTORY
237
business is successfully car-
ried on by liis sons, who
have been his associates for
many years.
There are a large num-
ber of aggressive young
firms in Grermany, making
history, inspired by the
glorious records of the older
houses, but it is not the
province of this work to
dwell upon present and
future.
In the supply industries
Germany has produced three
self-made men who assumed
the leadership 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
his 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 employment 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
Carl Ronisch
138
PIANOS AND THEIR MAKERS
and in 1842 started the first
piano action factory in Ger-
many at Hamburg. It was an
innovation and seemed a bold
undertaking, because up to tliat
time all piano makers in Ger-
many made their actions, fol-
lowing their own notions re-
garding construction. Iser-
mann demonstrated at once,
that he could produce a better
action for less money than the
piano maker, and his busi-
ness prospered far beyond his
expectations. His success was
so remarkable that it invited
competition. Very soon all
piano makers cpiit producing their own actions, and the piano
action industry, founded by Isermann, spread to all the leading-
manufacturing centers of Germany. Because of the reliability 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 1870 his son, C. W. Isermann, assumed manage-
ment, and in 1901 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
year.
J. C. L. Isermann
MEN WHO HAVE MADE PIANO HISTORY
239
y'uQ eA^^oi/o-y^iJX^ /PixioifjLrt-.
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 14 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.
When 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 suffer 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.
240
PIANOS AND THEIR MAKERS
After the optical busi-
ness was re-established, so to
speak, the young man added
the sale of hardware and
gradually built up a repu-
tation for his tirm. When
he became personally ac-
quainted with the renowned
English tool maker, Stubbs,
during- the latter 's visit to
Leipsic, he improved his op-
portunity to open up direct
business connection with this
English tirm and thus laid
the foundation for the great
hardware business, which
under his personal manage-
ment, extending over 60
years, grew to magnificent proportions.
In 1847 F. W. Patzschke, a hatter by trade, had made some
experiments in producing tapered felt for piano hammers. Lack-
ing capital, he appealed to the merchant, Weickert, who agreed
to make the necessary advances. For several years 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 partner's son, C. W. Patzschke, as
manager of the factory and pushed the business energetically.
With keen foresight he anticipated the great future in store for
this new industry and re-invested all the protit 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
many, following in Weick-
ert's footsteps as niucli as
possible, but liis business
continued to grow, in spite
of competition, and enjoys
to-day a positioia as undis-
puted leader in the industry.
Carl Moritz Weickert
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
iwhlesse 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. Eudolf 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
242
PIANOS AND THEIR MAKEES
Moritz Poehlmann
Moritz Poehlmann, born
at Ober Eedwitz, January 27,
1823, began the manufacture
of cast steel wire for piano
strings about 1855. Al-
though he demonstrated,
from the very beginning,
that his wire was superior to
any other on the market, he
met with great difficulties in
obtaining sufficient outlet to
make his business profitable.
It required all of that inborn
determination, which says,
■ " I will," to believe in final
victory, during the years of
disappointments and severe
trials.
Poehlmann studied to improve the tensile strength, polish and
uniform 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
multiplied, especially in Germany, mainly for the reason that
through Poehlmann 's efforts German music wire achieved an
international reputation. Moritz Poehlmann died March 26, 1902,
in his eightieth year. The business is carried on by his son, Rich-
ard Poehlmann.
ENGLAND
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 HISTOEY
243
English piano industry.
Tlie founder, Burcl^hardt
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 i
Broadwood & Sons occupied m.
for their showrooms and city jo],„ Broadwood
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.
244 PIANOS AND THEIR MAKERS
With creditable shrewdness Shudi presented to Frederick the
Great, as the defender of the Protestant faith, one of his harpsi-
chords, after Frederick had won the battle of Prague, for which
he received in return a ring bearing a portrait of Frederick. In
1776 he was commanded to build two harpsichords for the " New
Palais " at Potsdam, and later on Frederick ordered a harpsi-
chord of Shudi at a cost of $1,000. Besides profiting by the pres-
tige, Shudi certainly made a good cash profit on these instru-
ments.
John Broadwood, born at Cockburns, Scotland, in 1732, came
to London about 1752. A joiner by trade, he eventually found
his way to Shudi 's shop and ingratiated himself so strongly in
his master's favor that he not only was accepted in partnership,
and the firm name changed to Shudi & Broadwood, but he also
married Shudi 's daughter in 1769, whereupon Shudi retired from
business entirely. Shudi died on August 19, 1773. Broadwood
now took Shudi 's son in partnership, but assumed sole control
again ia 1783.
John Broadwood was a man of exceptional ability in many
ways. He kept in close touch with all the leaders in his art, asso-
ciating intimately with Americus Backers, Stodart and other in-
ventors of his day, always keeping open house for his friends
among the musicians and other artists, so that 33 Gtreat Poulteney
Street became a meeting place for all the brilliant people of London
of that time. His receptive mind enabled him to profit by this
intercourse with intellectual people, and he never hesitated to
ask the aid and judgment of his artistic or scientific friends, when
working on his great innovations in piano construction. When
Broadwood reconstructed the square piano, he was not satisfied
to experiment merely as an empiric. He called upon his friends,
the great scientists, Dr. Gray and Cavalla, of the British Museum,
to benefit by their knowledge of acoustics. He would ever search
MEN WHO HAVE MADE PIANO HISTORY 245
for scientific laws to learn cause and effect, hence his inventions
were all of permanent value. In 1795, 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 harpsichords 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 symi-
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.
Walter 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 THEIR MAKERS
Broadwood, the inventor of the barless steel frame, in 1894. W. C.
Dobbs, a grandson of Henry Fowler Broadwood, was admitted
to partnership in the same year. Thus six generations, counting
from Shudi in direct descent, have guided the destiny of this great
house. James H. S. Broadwood died February 8, 1911.
Conforming to the changed conditions in manufacturing and
business methods, the Broadwoods have lately erected new works,
equipped with up-to-date machinery and appliances of the most
approved character. In 1903 the historic showrooms on Great
Poulteney Street had to be taken down, and one of London's most
celebrated landmarks passed into oblivion.
With traditional progre^Siveness the house of Broadwood has
taken the lead in England by producing entire player pianos as
a specialty in their factories and have established modern show-
rooms near fashionable Bond Street. It should be mentioned here
that the Broadwoods have uninterruptedly been purveyors to the
Court of St. James since the reign of George I.
The firm of Collard & CoUard traces its origin to Longmann &
Broderip, who established a publishing house in 1767, and also
built sbme pianos. Muzio Clementi, who had become wealthy, and
whose compositions were published by Longmann & Broderip,
invested part of his money in their piano factory, finally associat-
ing himself with F. W. & W. P. Collard, under the firm name of
Clementi & Company, dementi's great reputation as a virtuoso
and composer was a distinct advantage to the young firm, but
its lasting reputation was established through the mechanical and
inventive genius of F. W. Collard, who obtained several patents for
improvements as early as 1811. Upon the retirement of Clementi,
the firm was changed to Collard & Collard. Under the aggressive
management of Charles Lukey Collard, who became sole owner in
1859, the firm forged rapidly to the front, and achieved worldwide
fame.
MEN WHO HAVE MADE PIANO HISTORY
247
In 1804 Thomas Butcher
started a piano shop and
took William Challen as a
partner in 1816. 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 his son, C. H. Chal-
len, to partnership in 1873,
from which time the tirm
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 piano 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
248
PIANOS AND THEIR MAKERS
Thomas James Brinsmead
In 1870 John Brinsmead
was elected honorary mem-
ber of L 'Academic Nationale
of France, and in 1878 was
decorated with the cross of
the Legion of Honor. Many
of the leading artists have
used the Brinsmead pianos
in their concerts and have
indorsed their tine qualities.
Thomas James Brins-
mead died November 9, 1906.
Edgar William Brinsmead
i4 died November 18, 1907.
John Brinsmead died March
17, 1908, at the age of 92.
The business is continued at
the i)resent day by H. Bil-
linghurst, a grandson of John Brinsmead.
During the palmy daj's of England's supremacy in the piano
industry of Europe, many firms syn^ang up who have held their
own successfully to the present day. Chappell & Co., who began
business in 1811; Eavestaff & Son, established in 1823; B. Squire
& Son, in 1829 ; Grover & Grover, in 1830 ; Samuel Barnett & Son,
and Poehlniann & Son (Halifax), in 1832; Strohmenger & Son, in
1835 ; Witton, AVitton & Company, in 1838 ; Arthur Allison & Com-
pany, in 1840 ; and Monnington & Weston, xAio started in 1858, are
counted among the progressive and successful houses of to-
day, that readily adopted modern methods of manufacturing, and
whose product upholds the fame of the piano industry in England.
PART THREE
CHAPTER II
France, Erard, Pleyel, Kalkbrenner, Wolff, Lyon, Herz, Pape,
Kriegelstein, Gaveau, Bord, Schwander, Herrburger.
Spain, Estela, Guarra, Chassaign, Montana.
Belgium, Berden, Van Hyfte, Vits, Boone fils, Gevaert, Giinther,
Oor.
Netherlands, AUgauer, Cuijpers, Eijken and de Lange.
Scandinavia, Hornung & MoUer, Ekstrem, Malmsjo, Hals.
EussiA, Diederichs, Schroder, Becker.
Japan, Yamaba, Nishikawa & Son.
PART THREE
CHAPTEE II
FRANCE
BORN in the old historic city of Strashurg 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 nevei" 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
351
252 PIANOS AND THEIE MAKEES
Villeroy, a great patroness of art, sought Mm out and engaged
Mm to build an instrument for lier use, placing a well-equipped
workshop in her own palace at Ms disposal, with perfect liberty
to follow his own inclinations and desires, just as Christofori had
done at the palace of the Duke of Tuscany.
It was here that Erard constructed his first piano in 1777. It
is said that it was superior to any other piano of that time. Al-
though he enjoyed the respect and most liberal protection of the
duchess, Erard when 25 years of age had greater aspirations. He
left the palace and started his own shop in the Eue de Bourbon.
Because of Ms connection with the aristocracy, fostered by his
influential protector, the Duchess of Villeroy, Erard 's success was
immediate. With his brother, Jean Baptiste, he founded in 1785
the firm which for many years thereafter reigned supreme in all
the concert halls of the civilized world. No other firm, before or
after Erard, occupied so exalted a position in the musical world as
the house of Erard, from 1796 to 1855.
That Erard had become a man of culture and refinement is
illustrated by the fact that he managed to keep in close touch with
the French aristocracy, and that he had sufficient influential friends
at the king's court, so that at a time when the luthiers of Paris,
who suffered in business because of Erard 's competition, demanded
the closing of his shop because he was not a chartered member of
the guild, the king issued a special charter for Erard as privileged
piano and harp maker, independent 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 Eevolution drove Erard to London, where he im-
mediately started a piano and harp 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
lie understood how to make
good use of his influential
friends. When he made the
most unusual request for a
renewal of the English
patent 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 surely 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 1796. In fact, Erard 's
prominence as a manufacturer dates from that time, and for many
years the pianos built by liim 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
Sebiistian Erard
254
PIANOS AND THEIR MAKERS
the great virtuosos of the
day played before most dis-
ting'uished audiences.
Erard divided his time
between Paris and London.
His brother Jean Baptiste
had charge of the Paris es-
tablishment and ])is nepliew
Pierre managed the London
worlds. Jean Baptiste Erard
died in 1826, and Sebastian
Erard on August 5, 1831.
He made his nepliew, Pierre
Erard, sole heir of his busi-
ness and of his 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 Mons. A. Blondel, is still producing
excellent instruments, which are preferred by leading virtuosos,
maintaining the exalted position created by the great genius and
wonderful personality of Sebastian Erard.
At the village of Ruppersthal, near Vienna, lived a school-
master by name of Pleyel. He was twice married and became the
father of 38 children, living to be 99 years of age. His twenty-
fourth child, born in 1757, was baptized " Ignace." The boy
seemed to be talented, and his father therefore soon began to teach
him the Latin language, and also obtained a good music teacher
for him. Ignace was a prodigy, and made such astounding prog-
t/«^*vA:
MEN WHO HAVE MADE PIANO HISTORY
255
ress in his music studies tliat ,
tlie wealthy, music-loving
Count Erdoedy agreed to
pay the great composer,
Haydn, the kirge 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 L .
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-
Ignaee Pleyel
0^
56
PIANOS AND THEIR MAKERS
rience was, liowover, too
mneli for sensitive Pleyel
and lie soon after removed
to Paris. In 1805 he went
into the music publishing
business and also started a
piano factory in 1807. In
1821 he transferred his busi-
ness to liis oldest son Camille
and retired to a country seat
near Paris, where he died on
Novem])er 11, 1831.
Camille Pleyel, born at
Strasburg in 1792, studied
music with his father, and
later on studied piano with
Dussek. He demonstrated
that he 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, he would prob-
ably have become a great composer. He associated himself with
Kalkbrenner, the renowned musician and piano virtuoso. To-
gether the}' spent several years at London, studying piano making
with Broadwood, CoUard and Clementi. They adopted for their
pjianos the upright action of Wornum, and the Broadwood for
their grand pianos, and organized their factory according to the
modern methods originated in London, all of which were great
factors in the remarkable success of the firm.
Both principals being accomplished pianists of high order, it
was but natural that they were in close touch with the brilliant
men of the profession. Camille Pleyel formed a very intimate
friendship with Frederic Chopin, who became an enthusiastic ad-
Camille Pleyel
MEN WHO HAVE MADE PIANO HISTORY
257
Auguste \Yolff
vocate of the Pleyel piano,
whicli lie played in all liis
concerts, with a few excep-
tions. Salle Pleyel, erected
about 1829, was the place
where Kalkbrenner, 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
partner, 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
pianos 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, Lijon & 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, Kalkbrenner and Pleyel, the great
piano virtuoso, Henri Herz, entered upon piano making after liis
reputation as a musician was established. Born on January 6,
1806, at Vienna, he played in concert at Cobleuz when only eight
258
PIANOS AND THEIR MAKERS
years of age. When 10
years old be was admitted as
pupil at the Paris Conserva-
tory, where he obtained the
first prize in 1818. He then
made extended concert tours
through France, Germany
and England, meeting with
great success. His composi-
tions were also very i^opular,
I and when he met the piano
maker, Klepfar, about the
j^ear 1825, he established a
piano factor}' at Paris. The
enterprise was not a success
in the beginning, and, in
order to replenish his ex-
chequer, Herz undertook a
great concert journey through the United States, California, Mex-
ico and the West Indies during 1849 and 1850. Upon his return to
Paris he devoted himself largely to the improvement of his pianos,
and established his fame among piano makers by the practical
simplifying of the Erard grand action. His model has been almost
universally adopted and is known as the Erard-Herz action. When
he erected his new factory he provided 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 prizes, and
always ranked among the best. Herz was ap^oointed professor of
Henri Herz
MEN WHO HAVE MADE PIANO HISTORY
259
music at the Paris Conserva-
tory in 1842, and held that
position nntil 1874. Deco-
rated by the King of Bel-
gium, he was also appointed
purveyor 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
was 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 Krieselstein
260
PIANOS AND THEIR MAKERS
It is safe to say that
Rape's restless mind did uot
permit liim to turn out a
number of perfect pianos in
succession. He made many
very good pianos in liis big
factory, but, before one of
his often brilliant ideas
was thoroughly worked out
to practical usefulness, he
would come out with an-
other idea of improvement,
which necessitated yet an-
other change in the piano
then under construction.
His reputation as an inven-
tor spread all over Europe,
and while in his prime, from
1835 to 1855, Rape had in his factory young men from all parts
of the Continent studying under him. Many of them became well
known later on, among his most talented pui)ils being Frederick
Mathushek and Carl Bechstein.
Toward the end of his career Rape was beset with a mania for
building pianos in all kinds of impossible forms — cycloid, hexagon,
etc. — to which the buying public did not take, and, although he at
one time owned one of the largest piano factories of Raris,
employing over 300 men, he died a poor man on February 2,
1875.
Jean Georges Kriegelsteiu, born at Riquewihr in 1801, founded
the firm of Kriegelsteiu & Company at Raris in 1831. He in-
vented many improvements and was especially successful with a
small upright piano, which he constructed in 1812. Although only
Jean Sch\\ander
MEN WHO HAVE MADE PIANO HISTORY
261
421-2 inches in height, it had
a rich tone and Tvas 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
tirst in Paris to make a commercial upright piano of good cjuality.
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 3'ears 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
262
PIANOS AND THEIR MAKERS
>-
!w-»«,''-'sv^--» -'---^ such excellent work that liis
business expanded very rap-
idly. After taking Josef
Herrbnrger in partner.slii]) in
1865 and accepting liim as
son-in-law, the concern as-
sumed commanding propor-
tions.
Josef Herrburger, born
at Daueudorf , Alsace, in 1832,
went to Paris in 1853 and
began to work for Schwan-
der in 1851. He demon-
strated not only great ability
as an organizer, but also as a
L^ ^ — J mechanician witli inventive
.Toiiann Friedrich Sciiroder talent. He designed many
valuable machines and appli-
ances for action making and invented several valuable improve-
ments for piano actions. The Schwander action factory became
known as the best equipped establishment of its kind, its products
were shipped to all parts of the civilized world and young piano
makers from all over the Continent came to the Schwander factory
to study modern methods of action making. Jean Schwander
died in 1882 and Josef Herrburger retired from business in 1900,
succeeded by his son, Josef Herrburger, Jr., who established a
branch factory in New York, maintaining the exalted standing of
the old firm in both hemispheres.
SPAIX
Barcelona is the center of piano manufacturing in Spain. We
find that Pindo de Pedro Estela established his shop in 1830,
MEN WHO HAVE MADE PIANO HISTORY
263
Hermanos Guarra and Louis Izabel in 1860, Chassaign Freres in
1864. At Madrid, Montana commenced business in 1864.
BELGIUM AND HOLLAND , .,5,,,.^,....^,.,^^.,..,^ .^, ^
Belgium can boast of
older firms. Frangois 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 <^''"'i ^''coiai Schruder
three firms of excellent standing — AUganer & 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 & Moller of Copenhagen,
founded in 1827, has always been in the lead. G. Ekstrem & Com-
l^any 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 many of their best workmen.
264
PIANOS AND THEIR MAKERS
KXJSSIA
The firm of Gebr. Diede-
riclis was established in St.
Petersburg in 1810. No
record of this old firm is
available ; it is, however, safe
to assume that they came to
Russia from Germany.
Johanu Friedricli Schro-
der, born at Stralsund in
1785, started to make pianos
in St. Petersburg in 1818
and built up a respectable
business. After his death in
1852, his son, Karl Michael
Schroder, born 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 exhibited, 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 Prankfort-on-Main, May 5,
1889. ■
His son, Carl Nicolai Schroder, continued the progressive
policy of his father, following closely all modern movements in
piano construction, as well as factory organization and equipment.
The firm has been appointed purveyor to the Emperors of Russia,
Austria, Germany, and the Kings of Denmark and Bavaria. After
MEN WHO HAVE MADE PIANO HISTORY
265
Carl Nicolai Schroder's
death the managemeut of the
establishment passed into tlie
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, flis 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-
perors 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-
page 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
PIANOS AND THEIR MAKERS
organ made in Japan and
organized Tlie Nippon Gak-
ki Siezo Kabusliiki Kwaislia
(Japanese Musical Instru-
ment Manufacturing Com-
pany) in 1889 with a capi-
tal of 30,000 yen. In 1907
tlie capital was increased
to 600,000 yen, of which
nearly 500,000 yen is i)aid
up. Yamaha is president
of the company, which owns
extensive factories at Ham-
mamatsu. Tliis company
produces now about 600
pianos, 8,000 organs and
13,000 violins per year,
mainly patterned after
American and German models.
Nishikawa & Son of Yokohama, established in 1885, manufac-
ture about 200 jnanos and 1,300 organs per year. The senior
member of this firm was a maker of Japanese lutes and other
musical instruments, and is still making violins. His son learned
piano making at the Estey factory in New York.
Torakusu Yamaba
PART THREE
CHAPTER III
America, Crehore, Osborn, Babcoek, MacKay, Stewart, The Chick-
erings. Bacon & Raven, James A. Gray, William Bourne, Mc-
Phail, The Lindemans, Schomacker, The Knabes, Steinways,
Hazeltons, Fischers, Stieff, Weber, Steck, etc., Kimball,
Cables, Wulsin, Starr, Healy, Wurlitzer, etc., Estey, The
Whites, Packard, Votey, Clark, etc.
PART THREE
CHAPTER III
AMEEICA
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 people 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 approached in Europe.
269
270 PIANOS AND THEIR MAKERS
Benjamin Crehore, who- had established a reputation as an
expert maker of violins, cellos and other musical instruments,
exhibited a harpsichord in 1791, and soon thereafter built pianos
at Milton, near Boston. In his shop he had John Osborn, Alpheus
and Lewis Babcock as .pupils. In 1810 the Babcock brothers
began to make pianos in Boston. The great panic of 1819 ruined
their business, but we hear of Alpheus Babcock again in 1821, in
partnership with John MacKay, that commercial genius who later
assisted so strongly, in building up the fame of the Chickering
firm.
John Osborn, the most talented of Crehore 's pupils, started
in business in 1815. It was in Osborn 's shop that Jonas Chicker-
ing learned .the art of piano making. Born in New Ipswich, N. H.,
on April 5, 1798, Chickering came to Boston about 1817, after he
had served his apprenticeship as a- cabinetmaker and joiner. Well
educated- and possessing decided mechanical talents of a high
order, Chickering was attracted to the art of piano making and
was fortunate in finding a master like Osborn as teacher. He
studied with Osborn until 1823, when James Stewart, who had
come from Baltimore to go in partnership with Osborn, but soon
quarreled with him, proposed partnership to Chickering, which the
latter accepted, and the firm of Stewart & Chickering opened their
shop on Tremont Street in that year.
Stewart was one of those restless, unsettled inventors, who
needed the methodical and painstaking young Chickering to give
to his inventions the practical form. It soon developed, however,
that Chickering was not only the better workman of the two, but
also the far more scientific piano maker. The firm was dissolved
in 1826. Stewart went to London to take a prominent position
with CoUard & CoUard. Jonas Chickering continued the business,
making excellent pianos, but his talents were more in the line of
inventing and constructing than merchandising. He also suffered
MEN WHO HAVE MADE PIANO HISTORY
271
from lack of capital, so that
Ms progress was rather slow
until John MacKay, who had
left Babcock, joined him as
a partner. This closed the
chain of Chicke ring'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 MacKay,
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 campaig-n, 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 18J:1. 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 ]oolicy with great
272 PIANOS AND THEIE MAKEES
energy, maintaining the highest possible prices for his pianos,
and spending money liberally for the necessary publicity. He
exhibited his pianos at every important exposition, going to the
World's Fair of London in 1851 with a number of instruments;
engaged prominent virtuosos to play his grand pianos in concert;
and took active part in the musical life of his home city, acting as
vice-president of the great Handel and Haydn Society as early
as 1834, and later on as its president for seven years.
While paying proper attention to the commercial and artistic
necessities of his great establishment, Jonas Chickering was ever
true to his love for scientific research and experiments, to improve
his pianos. He was not an empiric, who would experiment hap-
hazard with an idea. Whenever he had discovered a possible
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 painstaking care down to the
smallest detail which assured the Chickering piano the place of
honor in the first ranks.
When at the height of his prosperity Jonas Chickering met
with a great calamity. On December 1, 1852, his factory was
totally destroyed by fire, involving a loss of $250,000. Undaunted,
Chickering at once designed plans for a new and larger factory,
which was soon erected, and stands to this day on Tremont Street,
Boston, as a monument to the exceptional ability, talent and cour-
age of Jonas Chickering. Even now, nearly 60 years after its
erection, this factory is considered one of the best for its purpose.
Jonas Chickering died on December 8, 1853, in his fifty-sixth
year. The extraordinary nervous strain of the short period from
the destruction of his old factory to the completion of the new
works had, no doubt, affected 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, Tvlien
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 1844 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
l^ianos.
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. Chiekeriiia
274
PIANOS AND THEIR MAKERS
C. Frank Chiekering
opportnuity to study and
compare the work of the best
brains of the industry as it
then existed in Europe, and
furthermore lie became ac-
Cjuainted with the advanced
manufacturing- methods of
the celebrated London estab-
lishments. Returning from
abroad, Frank utilized his ex-
periences with effect, greatly
improving the Chickering
pianos.
Ajjpreciating the impor-
tance of New York as an art
center, Chickering & Sons
opened extensive warerooms
there under the direct management of C. Frank Chickering, and
in 1875 erected Chickering Hall, on Fifth Avenue. In this hall,
virtuosos like Billow, Joseffy, de Pachmann, Henry Ketten and
many others gave their never-to-be-forgotten concerts on the
Chickering grand pianos, designed and constructed by C. Frank
Chickering.
Chickering Hall was chosen as a permanent home by leading
glee clubs, such as the Mendelssohn, the English Glee Club, the
New York Vocal Society and by those eminent apostles of classic
chamber music, the New York Quartette, composed of C. Mollen-
hauer, M. Schwarz, George Matzka and F. Bergner, and the Phil-
harmonic Club under the able leadership of Richard Arnold.
Remenyi and Wilhelmi appeared as soloists with Gotthold Carl--
berg's Orchestra, and Frank Van der Stucken conducted sjan phony
concerts for several seasons in Chickering Hall, to be followed by
MEN WHO HAVE MADE PIANO HISTORY
275
Anton Seidl and the Bos-
ton Symphony Orchestra
with Franz Eummel, Xaver
Scharwenka and Richard
Hoffmann as soloists. Tlie
great building contained,
besides the concert hall
with a seating capacity of
2,000, the showrooms for
the Cliiekering pianos, offices,
repair shops and also the
drafting rooms, where C.
Frank Ohickering designed
and worked out his in-
ventions.
It was but 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 Cliiekering a bundle wrajiped up in
a bandanna handkerchief, asking Cliiekering to kindly phice the
package in his safe. Cliiekering 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. Cliiekering sent
for Paine 's legal representative, the bundle was opened in his
presence and found to contain over $400,000 worth of bonds and
currency. Cliiekering delivered the valuable package to the
George H. Cliiekering
276 PIANOS AND THEIR MAKERS
lawyer, who was obliged to huiit up distant relatives of Paine to
distribute the heritage.
C. Frank Chickering was in all respects one of nature's noble-
men. In appearance he reminded one forcibly of the Grand
Seigneurs of Louis XIV 's time. He died in New York, March
25, 1891.
George H. Chickering, the youngest of the brothers, was born
at Boston on April 18, 1830. After acquiring an excellent educa-
tion, he turned to the bench and worked under his father's tutelage.
For many years George made every set of hammers used in their
concert grands. He was an exceedingly neat and artistic me-
chanic. After 1853 he took charge of the factory management and
performed his arduous 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 Chickering pianos were always awarded the highest hon-
ors wherever exhibited, and, at the World's Fair at Paris, 1867, C.
Frank Chickering was decorated by the Emperor of the French
with the Cross of the Legion of Honor.
The business of this renowned firm is successfully carried on
by a corporation which has joined the American Piano Company,
maintaining the high character of its products. True to the tradi-
tions of the honored name, Chickering & Sons have of late years
been instrumental in reviving interest in the beauties of the old
clavichord, and are building such instruments for those who enjoy
the study of the compositions of Johann Sebastian Bach, Scar-
latti and others who wrote for the clavichord. The factory on
Tremont Street, Boston, has become a landmark of that historic
city, but Chickering Hall, New York, had to give way to a modern
building for business purposes.
MEN WHO HAVE MADE PIANO HISTORY
m
Next to Cliickering &
Sons, the Bacon Piano Com-
pany of New York is most
closely connected to the
founders of the industry in
America. Eobert Stodart of
London started in New York
in 1820. In 1821 Dubois
joined him and the firm was
Dubois & Stodart until 1836,
when Stodart retired and
George Bacon and Chambers
joined. Five years later Du-
bois and Chambers withdrew
and Raven joined, the firm i
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 1901 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
y
r
278 PIANOS AND THEIR MAKERS
I '•'^ms^rmff^mssmmw^ inventions. He even took a
[ number of pianos containing
the same to London for ex-
I hibition iu 1850, but after a
comparatively short time he
discarded all of them, prefer-
ring to build a fine piano
i along conventional lines. He
educated his sons, James S.
and William James, as thor-
ough piano makers, and the
time-honored tirm maintains
its reputation for high-class
j production to this date. Wil-
liam Boardman, who re-
tired at an early date from
the 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 Gray, born June 13, 1853, and James Stuart Gray,
born September 7, 1857, are continuing the business with
success.
One of the pioneers who attempted to force civilization in its
higher development upon the " Far West " 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 here his art was not appre-
ciated, and he therefore accepted in 1842 a position in the Chick-
ering factory, where he remained until 1846, when he organized
the firm of William Bourne & Company. A piano maker of the
A. M. McPhail
MEN WHO HAVE MADE PIANO HISTORY
279
old school, Bourne could turn
out nothing but thoroughly
first-class pianos. Since his
death, in 1885, the business
has been continued by his
son, Charles H. Bourne.
A. M. McPhail started
his business in Boston in
1837. Born at St. Andrews,
New Brunswick, he came to
Boston as a boy, 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.
\Yilliam Lindeman
280
PIANOS AND THEIR MAKEES
' Born at Dresden, Germany,
in 1795, where lie also
learned his art of piano niak-
i ing, Lindeman came to New
, York in 183-4 and established
his business in 1836. Al-
though his pianos were of
the highest order, success
came slowly, but when his
son Henry brought out his
" Cycloid " piano, a rather
happy compromise between a
grand and square piano, in
1860, the firm secured a
: strong hold upon the piano-
i
—^ 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 24, 1875, assumed the management and
continued the work of his father. Henry's son, Samuel Gr., was
admitted in 1901, and the firm name of Henry and S. G. Lindeman
was adopted.
In 1838, shortly after Lindeman 's appearance in the arena,
Johann Heinrieh Schumacher, who changed his name to John
Henry Schomacker for expedience' sake, established himself in
partnership with William Bossert in Philadelphia. Schomacker,
born in Schleswig-Holstein on January 1, 1800, learned piano mak-
ing in the master schools of Vienna. About 1830 he established
Henry Lindeman
MEN WHO HAVE MADE PIANO HISTORY
281
himself at Lalir, Bavaria,
and came to America in
1S37. 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 Heiirv Schomacker
282
PIANOS AND THEm MAKERS
His son, Henry C. Sclio-
macker, born in Pliiladelpliia
in May, 1840, served his aj^-
prentieesliip under liis father
and spent several years in
Germany, studying under
the leading masters. The
company, under the able
management of I. B. Wood-
ford as president, and Henry
C. Schomacker as secretary,
is maintaining the glory of
the old firm, producing most
excellent pianos of the high-
est order.
While Lindeman in New
York and Schomacker in
Philadelphia earned laurels
for the German school of
piano making, William Knabe was busy preparing himself for his
great career in Baltimore. Born at Kreutzberg, Germany, in 1803,
he received a superior education, intending to follow a learned pro-
fession. When the time for ultimate decision came, William pre-
ferred, however, to learn the art of piano making. He served the
customary apprenticeship and acquired further experience while
working for various masters in German}'. Coming to Baltimore in
1833, he found an engagement with Henry Hartje, who had won
quite a reputation as an inventor. Conservative and careful, Knabe
waited until he had mastered 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 HISTORY
business, associating liim-
self with another Grermau
piano malver, Henrj' Gaehle,
under the firm name of
Knabe & Gaelile. The en-
terprise was moderately
successful and tlie associa-
tion continued until 1854,
when Gaehle withdrew.
From that time on Knabe
was able to demonstrate his
exceptional ability as a
piano maker and business
man without hindrance. His
pianos 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 William 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 hj their father in the art of piano making. William, being
by nature of a quiet, retiring disposition, took upon 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 PIANOS AND THEIR MAKERS
destroyed by the Civil War then raging, but their customers for
the same reason could not meet their obligations. The work in
the big factory, with its hundreds of employees, dragged along in
an uncertain way and the day seemed to be near when the fac-
tories would have to be temporarily closed.
Ernest found a solution. He concluded to make a prolonged
trip through the northern and western States which were not so
seriously affected by the war, determined to establish agencies
for the sale of his pianos in this new territory. Money had to
be provided 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
offer 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 proposition to his board of directors. They decided that
imder existing conditions the loan could not be made. When
delivering this ultimatum to 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. Before he reached his factory office a
messenger from the bank had arrived 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, but 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 HISTOKY 285
obliged to use a single dollar. Ernest Knabe knew that just at
that time the 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 Washington. 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 Eosenthal 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 PIANOS AND THEIR MAKERS
Ernest and he succumbed to the inevitable result of over-exertion
on April 16, 1894. Ernest Knabe had ever been one of the strong-
pillars of the piano industry, on intimate terms with his competi-
tors, enjoying the- close friendship of William Steinway, Albert
Weber and other leaders. He left a gap which could not easily
be filled. The great business was turned into a corporation which
finally joined the American Piano Company, under whose care
the traditions of the house are reverently safeguarded.
Among' the historic Boston firms, the Hallet & Davis Piano
Company can trace its origin to the year 1835, when Brown &
Hallet started in business. Brown was a graduate of the Chick-
ering factory and obtained several patents for improvements. He
retired fi"om the firm in' 1843, and his place was taken by George
H. Davis, the firm changing to Hallet, Davis & Company, under
which title it continued with more or less success. After the death
of G-eorge H. Davis on December 1, 1879, the business was incor-
porated. Under the management of E. N. Kimball as president,
C. C. Conway, treasurer, and E. E. Conway as secretary, the con-
cern has recovered its old-time prestige and is counted among the
most progressive of the present day.
During the decade from 1830 to 1840 a coterie of piano makers,
lived at Albany, whose influence upon the piano industry of
America has been of a lasting character. John Osborn came from
Boston in 1829 and made pianos for Meacham & Company, dealers
in musical instruments. F. P. Burns studied under Osborn in
Meacham 's shop, which probably was the first piano factory west
of New York City. Henry Hazelton came from New York to work
for Boardman & Gray. James H. Grovesteen, founder of Grove-
steen. Fuller & Company of New York, came to Albany in 1839
and started to make pianos in 1840. A. C. James, later of James
& Holmstrom, New York, learned piano making in Grovesteen 's
shop and, after working for Boardman & Gray, became a member
MEN WHO HAVE MADE PIANO HISTORY
287
of the firm of Marshall,
James & Traver, later known
as Marshall & Wendell.
Myron A. Decker was also
one of the Albany pioneers
with George Gomph, P.
Reed 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, lie would never permit piecework in his shop, im][)ressing
his workmen with the idea that a piano is a work of art, retpiiring
the most painstaking efforts, without regard to time consumed in
its construction. Wliile producing most elegant and durable
pianos. Burns did not accumulate wealth, and when the Civil War
IH'ostrated 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
PIANOS AND THEIR MAKERS
.s*Ai»«»«
Henrv Hazclton
in the army, young Burns
felt tliat filial duty de-
manded his devotion to his
father's business. He picked
up the remnants of the once
flourishing business, injected
new life and not only suc-
ceeded in maintaining the
high reputation of the pi-
anos, but had the great satis-
faction of squaring all the
old obligations in a most
honorable manner. It was a
loss to the piano industry of
Albany when Edward M.
Burns retired in 1869 to seek
more remunerative activity
in another field.
A man who for over 60 years can enjoy the respect and friend-
ship of his com])etitors in business must be a strong character, with
a lovable disposition. Such was Henry Hazelton, born in New
York City in 1816. 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 Hazelton,
Talbot & Lyon. Not fulfilling his expectations at Albany, Hazelton
returned to New York and joined his brother Frederick, under the
firm name of F. & H. Hazelton, in 1850. Later on a younger
brother, John, was admitted to partnership and the firm name
changed to Hazelton Brothers. All three brothers were artisans
of high order, who eschewed commercial tactics, depending for
ultimate success entirely upon the high quality of their product,
MEN ^YliO HAVE MADE PIANO HISTORY
289
and to this date the tirm has
a strong hold upon New
York's Knickerbocker aris-
tocracy as a clientele, 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 Halsey in maintaining
the traditions of the re-
spected 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 U. and Charles S. Fischer, fol-
lowed in the footsteps of father and grandfather, becoming
expert jDiano makers. The inborn " wanderlust " of the Fischers
landed these two young men in New York City in 1839. Taking at
once employment with William Nnnns, they became his partners
soon thereafter under the firm name of Nunns & Fischer. Nunns
Charles S. Fischer
PIANOS AND THEIE MAKERS
retired iu 1840, and the firm
was changed to J. & C.
Fiselier. Building a reliable
piano, the}' soon accumulated
great wealth, and in 1873
John U. Fiselier retired with
a competency, to spend the
rest of his days in his home-
land, Italy. Charles S. then
admitted his four sons, who
had been thoroughly trained
iu all branches of the busi-
ness, to partnership. The
vigorous activity of the
young men, under the wise
guidance of their father,
brought them rapidly to the
front as great producers, in-
creasing their yeai'ly output to 5,000 pianos, at the same time
studiously improving the quality. In 1907 the firm was changed to
a corporation.
Hugh Hardman, who was born at Liverpool, England, in
1815, came to the United States and began to make pianos in
New York City in 1810. His son John was admitted to part-
nership about 1874. This firm was among the first to manufacture
good commercial upright pianos, and met with distinctive success.
In 1880 Leopold Peck bought an interest in the firm, the name
being changed to Hardman, Peck 6t Company. Under Peck's
able management the firm has risen to a recognized position among
the makers of high-grade pianos, their instruments ranking among
the best in the market.
Frederick 1'. Stieff
MEN WHO HAVE MADE PIANO PHSTORY
291
To cliange from teacbing
music and languages to deal-
ing in pianos, and finally to
become tlie founder of one of
the largest and most re-
spected piano manufacturing
tirms, was the career of
Charles M. Stieff. Born in
Wurtemburg 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
1842 he imported his first
pianos from Germany, and opened regular piano warerooms on
Liberty Street in 1843. Observing the success of the various piano
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 Wurtemburg 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 1856. It was
an excellent combination, the professional musician and business-
Jacob Gross
292
PIANOS AND THEIR MAKERS
man, Stieff, supported by 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. Tlie founder of tlie
tirm having passed to tlie un-
known beyond, tlie business
is carried on most success-
fully by 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 building, on North Lib-
erty Street, just as if it had had respect for this landmark where the
Stieffs had sold pianos for 63 years. The firm of Charles M. Stieff
distributes its products almost entirely through its own stores,
which are to be 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. Emerson, who started in Boston in 1849, had perhaps
more business acumen than mechanical talent and artistic iuclina-
Cliristian Kurtzmann
MEN WHO HAVE MADE PIANO HISTOEY 293
tions. He started to make a 1
low-priced iiistrmnent and
built up a very large and
profitable business within a
few years. In 1854 be en-
gaged C. C. Briggs, an ex-
pert i)iano maker of stand-
ing, to improve the piano,
which was accomplished
with such success that a
reputation for superior cjual-
ity was soon established
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 company 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
PIANOS AND THEIR MAKERS
•c^t<s«->«^ yt«*-^<
T cabinetmaker's trade, lie
soon became a piano maker,
getting his experience in
various Boston factories.
In 1851 lie made his first
piano, and laid the founda-
tion for a business which is
counted among the leaders of
, the American piano indus-
1 try. Educating his three
4 sons in all branches of the
business, he admitted them
-' to i)artnership and changed
'. the name to Vose & Sons.
, In 1889 the concern was in-
AhUA /i-. I%H^. eorporated, the stock being
,, owned bv the Vose family.
'"'"' ~ -— -- . James W. Vose served as
first president of the Vose & Sous' Piano Company for a number of
years. After his retirement his eldest son, Willard A. Vose, suc-
ceeded him as president and manager, with marked ability, main-
taining and improving the distinguished standing of the Vose
piano.
One of the most interesting characters in the history of Ameri-
can jiiano makers is Napoleon J. Haines. Born in London in 1824,
he came to New York when eight years of age. He made the trip
across the Atlantic alone with his younger brother Francis. His
father, who had ju-eceded the boys to New York, had paid the
ship's steward thirty dollars to assure good meals for the young-
sters. Napoleon, aware of that fact, objected to the poor coffee
and " hard tack " witli which the steward regaled the bo3^s, throw-
ing tlie stuff overboard and demanding " something tit to eat."
MEN WHO HAVE MADE PIANO HISTORY
He caused such a disturb-
ance that the captain was
called, who promptly 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 imder 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 cai)acity 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 Patent Office,
but, besides that, he was a born financier and shrewd lousiness
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
PIANOS AND THEIK MAKERS
rJ«**^^
'^ wk
^
kJ^^
m
WMk'^
^^^^^l^^^^^^l^^^^^^l
JH M
' MJWIIIrTBJI
Gomiiany, under whose aus-
pices the Haines Brothers
piano is produced in larger
c|uantities tlian ever.
Real genius always leaves
an indelible mark in its
sphere of activity, and its
influence is as lasting as it
is permeating at the time
of its birth. To observe a
man rising from the lowest
rung of the ladder to the
height of a most promi-
nent manufacturer, educat-
L ing himself meanwhile to
Napoleon J, Haines become a musician of ac-
knowledged talent and ver-
satility, handling complex financial problems with masterly
daring and withal acquiring a position of social influ-
ence, requires a combination of talents, an exercise of will-
power and self-denial seldom found. Albert Weber, born in
Bavaria July S, 1S28, landed in New York when 16 years of age.
Endowed with a liberal education, he had a good knowledge of
music, playing the organ efficiently. Attracted to the art of piano
making, lie went through a regular apprenticeship with Master
Holden of New York, and later worked in the celebrated shop of
Van AVinkle. To pay his board, young Weber gave music lessons
evenings, and i)layed the organ at church on Sundays. When 23
years of age he started in business with a very small capital. Fire
destroyed his shop during the third year of his existence as a
piano manufacturer. Nothing daunted, he rented much larger
MEN WHO HAVE MADE PIANO HISTORY
^97
Albert Weber
quarters and witliin a short
time acquired a leading posi-
tion among tlie piano firms
of New York City. His en-
ergy and ambition Imew no
r
bounds. In 1869 he opened \
extensive warerooms at
Fifth Avenue and Sixteentli
Street, a move which aston-
islied his competitors by its
very boldness. Weber had w^
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 piano world commenced.
Although not given to inventing or creating anything new in
piano construction, AVeber 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 piano
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 lie succeeded
in producing in his pianos, through his expert workmen, what he
298 PIANOS AND THEIR MAKERS
proudly called the " Weber tone." To listen to his playing for a
prospective customer was a treat indeed, and seldom would an
intending buyer leave his warerooms without having secured a
piano. The man's enthusiasm, the real love for his piano was
so intense, so genuine that he impressed the same on every person
who would listen to his playing. Well read, a keen observer of men
and things, Weber was a most interesting entertainer. His ready
wit became proverbial and oftentimes served to clear unpleasant
situations. For example, when during the strike of the journey-
men for higher wages, shorter hours, etc., a committee of the work-
men met with the assembled manufacturers, submitting their most
unreasonable demands, the latter were dumbfounded by the bold-
ness of the men. Weber broke the silence, complimented the men,
arguing that it was their privilege to ask for all that they might
want, but in his opinion they had not asked enough — they had for-
gotten to ask for free Saturday afternoons with full pay, so that
they could play tenpins, the bosses to pay 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 pertinent anecdotes could be cited to illustrate the quick-
working mind of this remarkable man. He had one serious short-
coming, however, which finally 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 from dreary detail work, and con-
sequently the management of his great factory, of the wholesale
and retail departments, all of the financial affairs— in short, every
detail of his great business — rested upon his shoulders. Working
MEN WHO HAVE MADE 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
lie made for his piano, are becomingly perpetuated by the Weber
Piano Company, a corporation affiliated with the Aeolian Company
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 factory in London has become a necessity, 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 teaches 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
Ms 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 very dreary, to coun-
300
PIANOS AND THEIR MAKERS
teraet which he managed to
build a zither, upon which he
would play the patriotic
songs of the time accom-
X^anied by the voices of his
soldier comrades. Having
never handled tools nor re-
ceived even elementary in-
struction in music, his ac-
comjjlishment 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, he sought em-
ployment with a cabinet-
maker, but being then 21
years of age, and engaged to a lovely girl, he did not cherish
the idea of serving a five-year apprenticeship as the guild
of cabinetmakers demanded. He wanted to learu the use of
tools to build musical instruments, and we find him, there-
fore, soon in the shop of an organ builder at Seesen, where
he also filled the place of organist in the village church. In 1825
he married the woman of his heart, and his wedding present was
the first piano built by Steinweg's own hands. It was a fine
instrument, which soon found a purchaser. Constructing pianos,
earning 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. The great composer, Albert Methfessel, played on
these instruments and, as chairman of the jury, recommended that
J^ c/f&iL'U^AJ-'&-^^
MEN WHO HAVE MADE PIANO HISTOEY 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 1849, 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 THEIE MAKEES
he wanted a distinct trade-mark, which could not be imitated, even
if his pianos should be.
From the beginning the firm of Steinway & Sons was a happy
combination of various talents, making success imperative. Henry
E. Steinway was an experienced piano maker and careful busi-
ness man. His son Charles managed the factory, for which he was
eminently fitted. A fine mechanic, he possessed a highly devel-
oped sense for exactness and systematic organization, while the
younger son Henry was a genius as an inventor, a good musician
and a splendid mixer with artists, professionals and literary men.
At the Metropolitan Fair, held at Washington, D. C, March,
1854, Steinway & Sons exhibited a square piano and received a
prize medal, but their great triumph came at the great fair of
the American Institute in New York in 1855, where their over-
strung square piano with full iron frame created a sensation in
the piano world. As a result their business expanded so rapidly
that in 1859 the erection of that mammoth factory on Fifty-third
Street and Fourth Avenue, New York, became a necessity. Henry
E. Steinway planned the factory and superintended its building.
It is said that he would not permit a beam or rafter in the entire
structure which contained a single knot or showed the least im-
perfection. The precision of the master builder dominated in what-
ever he did !
Gradually he permitted his sons to assume the responsibilities
of managing the affairs of the great business. Successful beyond
his fondest dreams in his enterprise, Henry E. Steinway had to
bear the deep sorrow of losing his faithful co-workers and beloved
sons, Charles and Henry, in the prime of their manhood. This
great bereavement, together with the advancing years, began to
bear upon that strong character, who had fought the battle of life
so valiantly, and, after planning and superintending the erection
of Steinway Hall in 1866, he retired more and more from active
MEN WHO HAVE MADE PIANO HISTORY 303
participation, going to his
rest on February 7, 1871, at
the age of 71. 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, C.F.Theo-
dore Steinway, was one of
those who show great bril-
liancy in their youth, but
whose genius then lies dormant for a number of years, to break out
with irresistible force after middle life, astonishing the world with
their accomplishments. At the age of 14 Theodore was an accom-
plished 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
304 PIANOS AND THEIE MAKERS
bench in his father's shop, and, when the family sailed for New-
York in 1851, he was charged with winding up the affairs of busi-
ness and following the family. Fate decreed otherwise. He met
the only maid whom he would marry, stayed at Seesen and con-
tinued the business founded by his father. Success crowned his
efforts, and seeking a larger field he removed his piano factory
to Brunswick in 1859, where he built up a substantial business.
However, when his brothers, Charles and Henry, died, filial duty
demanded that he should assist his father in New York. He sold
his business to three of his most able workmen and became a part-
ner in the firm of Steinway & Sons, New York. Theodore took
charge of the construction department, and commenced those revo-
lutionary improvements which have made the Steinway a sj^nonym
of perfection in piano building.
Theodore's inventive and constructive genius had for all these
years been tethered by the every-day care of managing all de-
partments of his Brunswick factory. Freed now, with unlimited
capital, an excellent factory organization and the most expert
workmen at his command, Theodore Steinway had opportunity sel-
dom offered. He made the best use of it. Step by step he invaded
the fields of modern science, investigating and testing different
kinds of wood in order to ascertain why one kind or another was
best adapted for piano construction, then taking up the study of
metallurgy, to find a proper alloy for casting iron plates which
would stand the tremendous strain of 75,000 pounds of the new
concert-grand piano that was already born in his mind, calling
chemistry to his aid to establish the scientific basis for felts, glue,
varnish, oils, — in short, nothing in the realm of science having any
bearing on piano construction was overlooked. Having thus laid
his foundation, he returned to Germany to be near Helmholtz and
benefit by that great savant's epoch-making discoveries. It was
but natural that in time he became an intimate friend of
MEN WHO HAVE MADE PIANO HISTOET 305
Helmholtz, 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 trav-
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 Renaissance. Theo-
dore profited greatly, being a keen observer, and he set to work
to bring to life in his piano the discoveries of Helmholtz, 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 piano building with him, the experi-
mental piano 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 Eubin-
stein, and would, orchestra-like, fill the large modern concert hall
to its remotest comers. 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
PIANOS AND THEIR MAKERS
methods upon all who desired
to stay in the progressive
march. He demonstrated to
wliat extent science can aid
in the development of the pi-
ano by his own productions,
and thus broke the i)atli for
the enormous development of
the industry during- the past
30 3'ears. This is more than
all the empirics have ever
done. Theodore Steinway
died at Brunswick, March
26, 1889.
Compensation is one of
the inexorable laws of na-
ture. Great results can only
be achieved by great efforts and corresponding sacrifice.
Steinway & Sons had to pay their tribute to the law of compen-
sation !
Charles Steinway, born on January 1, 1829, was one of those
silent workers who fill most important places in the world of
activity. Of a modest and retiring disposition, wra}iped up in
his arduous duties of organizing and managing the ever-growing
factories, Charles knew no bounds for his labors. He simply ex-
hausted himself and died at the earh" age of 36 on March 31, 1865,
leaving behind him as his monument the piano factory 2)ar excel-
lence, a foundation for Theodore and William to l)uild upon, with-
out which neither one of these two great men could have achieved
their triumijhs.
Charles Stein
MEN WHO HAVE MADE PIANO HISTORY 307
Henry Steinway, Jr.,
born on March -7, 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 his
restless brain — enlighten-
ment as to the demands of
the artist — Henry was at
night-time a studious citizen iiemy stcinway
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 31 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 THEIR MAKEES
At the age of 14 lie had a
good command of English
and French, played the piano
acceptably and had such
a musical ear that he could
tune a three-stringed grand
piano to jierfection. When
the family arrived in New
York, "William was offered
the choice of studying music,
for which he had shown pro-
nounced talent, or learning
piano making. He chose the
latter and was at once ap-
prenticed to William Nunns
& Company, one of the best-
known New York piano firms
of that time. As soon as his
father started in business William joined him, and worked for sev-
eral years at the Ix'uch, until the commercial end of the business
demanded closest attention. William was l)y unanimous agreement
chosen as the head of the financial and commercial departments of
the firm. It was his proper sphere and furnished another illustra-
tion of the keen judgment of Henry E. Steinway, Sr. He placed
each of his sons where his ijartieu'ar talents might ijroduce the best
results.
Being only 29 years of age when called upon to manage an
establishment of enormous proportions, William did not waver.
With the grit and determination inherited from his father, he
began to plan greater extensions. Theodore was building pianos,
William had to sell them. His pet scheme, a great concert hall.
MEN WHO HAVE MADE PIANO 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 William 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 offers 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 PIANOS AND THEIE MAKERS
Hamburg factories were started, to supply the ever-growing Euro-
pean trade.
While thus engaged in building up this great market for the
products of the factories, William fostered ambitions in other
directions. He wanted to see the name of Steinway on the map
of New York; and with that end in view he bought 400 acres of
land on the Long Island Sound in 1880, and there created the town
of Steinway. Starting with the erection of a sawmill and iron
foundry, in course of time the case and action factories were
erected, and since 1910 the entire piano works of Steinway & Sons
have been located at Steinway, L. I., New 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 German Turn Verein, and even in his later years it was one
of his pleasantries to compare muscular strength with friends.
To say that mentally he was a giant is no exaggeration. Who-
ever can contemplate the multitude of details, aside from the
larger schemes, to which William Steinway paid closest attention,
the complex financial problems which confronted him in times of
business depression, the demands made upon his time by artists,
members of the press, etc., must wonder how he could pay any
attention to society or public affairs. Yet we find that he was
often called upon to lead a movement in politics or municipal
affairs, to which he would respond with unwonted energy and
ability. For 14 years he acted as president of the Liederkranz,
the leading German 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
piano industry or a helping hand could be extended for uplifting.
It is unfortunate that history never will record his manly and
heroic actions in the interest of the entire piano industry of
MEN WHO HAVE MADE PIANO HISTORY
311
America during- the darlv
days of the great i)auics of
1893 and 1896. He stood
like tlie IJock of Gibraltar
against the waves of de-
struction rami)ant in those
days, and by 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-
plied himself with such in-
tensity and abandon to his
duties that even his won- Albeit su-iuuay
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. Oarl
Sehurz delivered the funeral oration and New York was in
mourning.
The youngest son of Henry Engelhardt, Albert Steinway, 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 develo]mient of the
village of Steinway was mainly his work, and the ])lanning 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 PIANOS AND THEIR MAKERS
acteristic of the Stein way family, urging him to accomplish in a
given time more than his bodily strength would permit, he under-
mined his none too strong constitution and died at the age of 37
on May 14, 1877.
It is almost needless to say that in course of time honors were
showered upon the house of Steinway, in recognition of its many
valuable contributions to science, art and industry. Theodore and
William were elected Members of the Societies of Art of Berlin,
Paris and Stockholm, and William was decorated with the Cross
of the Red Eagle by Emperor William of Germany. The highest
prizes for meritorious products have invariably been awarded to
the firm wherever their pianos have been exhibited, and the leading
courts of Europe and Asia bestowed the honor of appointment as
" special purveyors " to Steinway & Sons.
Charles H. Steinway, the president of the corporation, has
been honored by the Sultan of Turkey with the Order of the Liakat ;
by the Republic of France with the Cross of the Legion of Honor ;
by the Shah of Persia with the Order of the Lion and Sun, and by
the Emperor of Germany with the Order of the Red Eagle.
All of the founders of the great house having passed to the
unknown beyond, their work is continued in most effectual man-
ner by their scions, who, true to tradition, divide the mani-
fold duties among themselves, according to their talents and
training.
Charles H. Steinway, son of the late Charles, directs the com-
mercial and financial policy of the corporation. His brother,
Frederick T., is in charge of the factories, assisted by Theodore
Cassebeer, grandson of Doretta Steinway-Ziegler.
Henry Ziegler, son of Doretta, and pupil of the late Theodore
Steinway, is in charge of the construction department, assisted by
the late William Steinway 's son, Theodore F., whose elder brother,
William R., is in charge of the European business.
MEN WHO HAVE MADE PIANO HISTORY.
313
FolloTving their chosen
leader cheerfully, just as
Plenry Eugelliardt'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 cjual-
ity of their instruments and
extending their influence, as
leaders of the industry, to L_
all parts of the civilized
world.
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 Lighte &
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 cjuite
easily. The business grew steadily under his energetic manage-
ment and ranks to-day among the leading industrial establishments
Tlieodure A. Heintzmann
314
PIANOS AND THEIR MAKERS
of tlie Dominion. Heintz-
mann died on July 25,
1899. The business lias
been taken over by a cor-
poration, in the manage-
ment of which four sons
of the late Heintzmami
take active part.
Among the mau}^ Ger-
mans who left their fa-
therland after the failure
of the Revolution of ISIS,
was Ernest Clabler. Born
in Glogau, Silesia, he
landed at New York in
1851, and started in busi-
ness in 1854. Building a
substantial ])iano at a
moderate jjrice, he met
with considerable financial success. He died February 27,
1883.
A petu'iar character, with many strong traits, we find in Free-
born Garrettson Smith. Learning his trade in Baltimore, he woiked
for some time in Chickering's factory. In 1861 lie became super-
intendent for William B. Bradbury. Bradbury was a musician by
l)rofession, who had bought an interest in the firm of Lighte &
Newton (established in 1S48), and when he dissolved partnership
with Lighte, he found in Smith a good manager for his factory.
After Bradbury's death in lS(i7 Smith bought the business, con-
tinuing the name of T'radbnry. Immediately the commercial in-
stincts of Smith came to the surface, and he developed greater
En
St Ci.lilir
MEN WHO HAVE MADE PIANO HISTORY
315
F. G. Smith
talents as a distributor of
pianos tlian as a maimer.
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 ability.
While working at the melodeon factory of George A. Prince
& Company of Buffalo, 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 ])artner-
ship with lienry 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
PIANOS AND THEIR MAKERS
that artistic devotion to
music, wliicli we find to this
date expressed in the ahnost
tlawless instruments pro-
duced by the Mason & Ham-
lin Company.
Starting' with a small
capita], but determined to
produce tlie very best instru-
ments only, the firm met with
ahnost instant success. Not
content witli the manufac-
ture of their lumible instru-
ment, they soon developed
what has become known as
the American Cabinet Organ.
This instrument won for the
firm a world-wide reputa-
tion and the highest possible honors and awards were be-
stowed upon their products at all World's Expositions, wherever
exhibited.
In 1881 the manufacture of pianos was added to their indus-
tries. The Mason & Hamlin piano advanced rapidly in popular
favor and is accepted by the most eminent virtuosos and musicians
of the day, as an artistic instrument of the highest order.
Among the pioneers of the melodeon and organ industry was
Bernhard Shoninger, a native of Germany, who landed in America
in 1847, and started his factory at New Haven, Conn., in 1850.
Branching out to the making of pianos, he secured for his instru-
ments the same enviable reputation which had been accorded to
bis organs. Bernhard Shoninger died on June 3, 1910. The
Benihard Slioiiin<rer
MEN WHO HAVE MADE PIANO HISTORY
317
" 1
business is continued under
the able direction of his son,
S. B. Slioninger.
Myron A. Deelier, born
at Mancliester, N. Y., on
January 2, 1823, served
a four-year apprenticesliip
with Van Winlvle at the time
Avhen Albert Weber -n-as tak-
ing his post-graduate course
in the same shop. He then
Tvent 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 partuersliip 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 G. 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
PIANOS AND THEIR MAKERS
Among the few who de-
voted their lives to the one
object, tlie improvement of
the i)iano, especially its to-
nal qualities, George Steck's
name will ever be mentioned
as one of the first. Born
near Cassel, Germany, on
July 19, 1829, Steek studied
with that celebrated master,
("arl Scheel of Casse].
Coming to America in 1853,
he started his factory in
1857 and met with such ex-
ceptional success that he
was able to o])en Steck Hall
on Clinton Place, New York
Cit}^ in 1865, where his con-
cert grand pianos were played by the leading artists of the day.
Later on a larger hall was opened on Fourteenth Street to meet the
demands of a steadily growing business.
Steck was one of those restless natures who are never satisfied
with tlie best of their work. As a scale drawer he had no superior.
His scales for both grand and upright i^ianos have been indus-
triously copied by makers of commercial pianos, because of their
exceptional merit for clear and large tone. His concert grands
have been highly endorsed by Richard Yfagner, Sophie Menter,
Annette Essipoff, Sir Julius Benedict and many others.
Because of the exceptional solidit}^ of the Steck piano, it
lias been chosen for years by many schools and colleges
all through the United States, and has become known as the
" school piano."
George Steek
MEN WHO HAVE MADE PIANO HISTORY
Personally, George Steck
was a most lovable charac-
ter, wlio had no enemies,
finding- pleasure in the pur-
suit of his art, with 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,
rmder 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 j)rominent 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
Henry Behniiio
^20
PIANOS AND THEIR MAKERS
America in 1856. Ho found
emi)loyment in the sliop of
Ligiite & Newton. At the
outbreak of the Civil War he
enlisted with the Union
Army, taking part in the hos-
tilities, but was soou honor-
ably discharged for disabil-
ity. In 1861 he started in
business, making a good
commercial piano. In 1880
he admitted his sou Henr}' to
partnership, under the firm
name of Henr}' Behning &
Sou. He retired from busi-
ness in 189-1 and died on
June 10, 1905. The firm was
changed in 1894 to the Behning Piano Company, a corporation
under the management of Henry Behning, Jr., and Gustav
Behning.
Hugo Sohmer, born in the Black Forest, Germany, in 1846,
had the benefit of a classical education, including a thorough study
of music. He came to New York at the age of sixteen and served
his apprenticeship with Scliiitze & Ludoltf. Returning to Ger-
many he studied piano making for two years in some of the leading
factories there. In 1870 he founded the firm of Sohmer & Com-
pany, by taking over the business of Marshall & Mittauer. Sohmer
is a thorough piano maker who has patented many improvements,
enhancing the value of his product. With strongly developed
artistic inclination, Sohmer has ever been satisfied to produce an
artistic instrument, rather than to merely manufacture large quan-
tities.
Hvigo Sohmer
MEN WHO HAVE MADE PIANO HISTORY
321
Among the firms that
have succeeded in producing
a high-grade piano and scor-
ing at tlie 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 &
Wheelock. They started in
business in 1878. After the
death of John F. in 1885, cimries Jacob
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 Mathushek & Son Piano Company, 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 history 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. Returning to
PIANOS AND THEIR MAKERS
Worms, lie began to build
freak pianos similar to those
he had seen at Rape's. One
of his octagon " table i^i-
anos," built at Worms, is
among the collection of an-
tique pianos at the Ibach
Museum at Barmen. Al-
though a splendid workman
and i^articularly gifted tone
specialist, which enabled him
to build superior artistic pi-
anos, his business was not a
success financially.
In 1849 Mathushek landed
in New York, and was imme-
diately engaged by John B.
Dunham to draw new scales
and make other improvements. It is said that Mathushek drew a
scale for overstrung square pianos in Dunham's shop in 1850. It
has never been disputed that the reputation which the Dunham
pianos enjoyed in their day was due to the work of Mathushek. It
was here, also, that lie constructed his piano hammer-covering
machine, which has been used as a foundation for all later improve-
ments in that line.
In 1852 Mathushek started again on his own account, continuing
until 1857, when Spencer B. Driggs tempted him with most lib-
eral offers to work 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 to achieve any practical results by following Driggs''
MEN WHO PIAVE MADE PIANO HISTORY
Z2c
ideas, and we find liim in 1866 as head of tlie Matliushek 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 ' ' piano a tone richer
and fuller than could be found in many a large square piano, while
Mathushek's " Table Piano," from the Ibach Collection
324
PIANOS AND THEIR MAKERS
his orchestral square piano
has never been excelled, if it
ever had its peer. In volume
and musical (juality of tone
these orchestral square pi-
anos were far superior to
many of the short grand
pianos of the present time,
possessing, especially in the
middle register, an almost
bewitching sweet mellowness
of tone, reminding vividly of
^^^^d the cello tones. Unfortu-
nately for Mathushek, the
owners of the company soon
commercialized the product,
and his dream of some day
building a concert grand pi-
ano such as he had in his mind was never realized.
He drew many grand piano scales for other manufacturers,
but, strange as it may sound, Mathushek 's scales were only a suc-
cess when he could work out the entire piano as he conceived it
in his own mind. It is no exaggeration to state that Mathushek
could, as a voicer, produce a tone quality in his own pianos that
no other man could imitate. The author had the privilege of
working alongside Mathushek for a number of years at the New
Haven factory and ol)served the radical transformation of tone
equality after Mathushek had gone over the hammers with his
tools. A good player of the piano, with a wonderfully sensitive
and trained ear, he quickly detected an almost imperceptible short-
coming and usually knew how to correct it. His fault, if it is to
Frederick Mathushek
MEN WHO HAVE MADE PIANO HISTORY 325
be called so, was his irresistible restlessness in seeking for im-
provements, wbich 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,
Mathushek 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 equilibre system. The piano industry of America is
largely indebted for its wonderful development to the genius of
Frederick Mathushek. He died November 9, 1891,
With 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 & Wheelock. In 1877 the partnership 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 149th Street, New York, was acquired. In
1886 the Stuyv.esant Piano Company was started to meet the de-
PIANOS AND THEIR MAKERS
maud for a medium-priced
piauo, aud iu 1892 coutrol
of the busiuess of the
late Albert Weber was
obtaiued. Wheelock and
his partners, Charles B.
Lawson and John W. Ma-
son, organized the Weber
Piano Company aud thus
became the first manufac-
turers who could offer to
the trade a full line of the
most merchantable grades:
the Wel)er, a piauo of
the highest reputation and
qualities; the Wheelock, as
a first-class instrument, and
the medium-priced Stuy-
vesant — all made in sepa-
rate factories, but prac-
tically under one control
and management. This idea, later on, was successfully followed
by many of the leading concerns in the United States. When the
opportunity to consolidate his three companies with the Aeolian
interests presented itself in 1903, Wheelock saw the greater possi-
bility for the future of his enterprise in such a combination and
entered into the arrangement whereby he became treasurer of the
new and larger corporation then formed, while remaining presi-
dent of the several piano companies of which for many years he
had been the head.
Educated as a musician, becoming a violinist and orchestra
conductor of note, Simon Krakauer, born at Kissingen, Germany,
IdUtia.^ (^-Hll£j^-^^<^C
MEN WHO flAVE MADE PIANO HISTORY
327
in 1816, came to America in
1854 and started manufac-
turing pianos in 1869, with
his son David, who had
learned tlie 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
qualit}^ the dominant effort,
seeking to obtain musical
tone quality. In 1867 Julius
and Daniel Krakauer joined, "-- -— -- - --^ — -, .^
and the firm was changed gi„,„^ Krakauer
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
328
PIANOS AND THEIR MAKERS
rolls. Success crowning
his efforts, lie purchased
in 1892 all the ])atents
owned by the Monroe
Organ Reed Comi)any of
Worcester, and in 1895
introduced the " Aeriol "
self-playing piano.
W. B. Tremaine was
the founder of the busi-
ness of manufacturing
automatic playing musical
instruments. Before the
advent of the " Pianola "
there was neither competi-
tion nor encouragement
from the piano trade, and
it required a man of keen
foresight and courage to meet these conditions and make a suc-
cess of the business, as he did, up to the time of his relinquishing
it to his son.
Many writers ]wint to the fact that a large number of our
captains of industry have been born on a farm, have lacked higher
education and had to " make themselves," inferring, if not ]iosi-
tively asserting, that greatness in man can only originate on the
soil or in the dwelling of the poor. In 1866 a boy was born in
the city of Brooklyn who was christened Harry B. Tremaine.
The father and mother, highly educated people of culture and
refinement, brought up their boy with all the advantages which a
large city offers. Hnlike the country lad, young Tremaine saw
the sky-scraping office buildings of New York go up, saw the
traffic on its thoroughfares, the ships in the harbor, loading and
VVilliiim B. Tremaine
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 l-i 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 rote 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
Hfirry B. Tremaine
330
PIANOS AND THEIR MAKERS
it presented itself. His
father had laid a good
foundation. Votey had
perfected his Pianola.
How to exploit what he
found, to its fullest ex-
tent, was the problem
for Tremaine to solve.
Believing with the en-
thusiasm of youth in
the almost boundless
commercial possibilities
of the new automatic
appliances for musical
instruments, he knew
that success was only
obtainable if adequate
capital could be com-
bined with the manu-
facturing and selling-
organization then at his command. So strong was his faith, so plau-
sible the plans which he had worked out that he- did succeed in inter-
esting men of affairs, and obtained capital by the millions for the
furtherance of his ambitious plans. Backed by this abundant capi-
tal, he lost no time in setting his machinery in motion. The adver-
tising campaign for the Pianola, which he inaugurated immediately,
stunned the old-timers in the piano trade. Dire disaster was
prophesied by many, but Tremaine knew his cards, his carefully
laid plans did not miscarr}^ and no one to-day denies him the credit
of having blasted and paved the way for the popularity of the
IDlayer piano. Like all great leaders, Tremaine has the talent to
pick the right man for the right place. He found an able assistant
J,
' '- ^^p^^^^^^^^^i
1 ;
^^^^^m^^':/.':-:-"'
.
^^
■
1 -^ ^^\_
'''^:,,/..f'VI^T^ i
J-'€m
^S^'c^^ssSK^^^^ jA^^
Edward R. Perkins
MEN WHO HAVE MADE PIANO HISTORY
331
in Edward E. Perkins,
who joined the Aeolian
forces in 1893 at the age
of 21. 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 presi-
dent of the Weber Piano
Company in 1903, and is
now in charge of the finan-
cial department as treas-
urer of the corporation.
Tremaine understands
Edwin S. Votey
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 proi^er, 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 applied
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 quarters, engaging the best artists to demon-
PIANOS AND THEIR MAKEES
strate the value of liis
products at tlie elegant
auditorium. In 1903 lie or-
ganized the Aeolian, Weber
Piano & Pianola Company,
capitalized at $10,000,000
and controlling the following
subsidiary companies : The
Aeolian Company, the Or-
chestrelle Company (Lon-
don), The Choralion Com-
pany (Berlin), The Aeolian
Company, Ltd. (Paris), The
Pianola Company Proprie-
tary, Ltd. (Melbourne and
Sydney), the Weber Piano
Company, George Steck &
Comi^any, Wheelock Piano
Company, Stuyvesant Piano Company, Chilton Piano Com-
pany, Technola Piano Company, Votey Organ Company, Vocalian
Organ Company and the Universal Music Company. These com-
panies give employment to about 5,000 people, scattered all over
the world. Aside from the extensive piano factories in New York
C*ity, and the player factories at G-arwood and Meriden, there is
a Steck piano factory at Gotha, Germany, producing 3,500 pianos
annually, and a large factory for the AVeljer Piano Company is
in course of construction at Hayes, near London. Operating as
indeiiendeut concerns, tliese com])anies are ea])italized at about
$4,000,000. The total capital employed under tlie direction of
Harry B. Tremaine amounts to $15,500,000, wliich is more than
tlie capital invested in the entire piano and organ industry of the
United States in 1890.
George B. Kelly
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 pf experience. As
an observant student, he saw the potentialities of mechanical ap-
pliances for musical instruments and knew how to develop them.
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
quality.
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 Autopiano Company is rendering valuable service for the
introduction of the player piano.
334 PIANOS AND THEIR MAKERS
Because of the impetus given to the player-piano industry by
the extensive advertising of the Aeolian Company, Wilcox & AVTiite
Company and others, a demand for a reliable player action made
itself forcibly felt. Charles Kohler seized upon the opportunity
and. established the Auto-Pneumatic Action Company in 1900, He
secured the active assistance of W. J. Keeley, Thomas Danquard
and other experts. Danquard obtained a patent in 1904 for a
device called the " flexible finger," by means of which the wippen
of the piano action is attached direct to the player mechanism, thus
eliminating the harshness of contact and imparting elasticity with-
out interfering with the function of the piano action.
Because of their excellent quality a large number of piano manu-
facturers have adopted these actions for their player pianos. The
Auto-Pneumatic Action Company is perhaps the largest producer
of player mechanism at the present time.
The Standard Pneumatic Action Company, the Amphion Com-
pany, Ariston Company, Gulbransen-Dickinson Company, Chase
& Baker Company and Simplex Piano-Player Company are also
making history for the player piano.
Among the phenomenal successes of latter days, the firm of
Kohler & Campbell stands pre-eminent. Beginning with a small
capital in 1896, this firm has placed over 120,000 pianos on the
market within 14 years.
John Calvin -Campbell, born at Newark, N. J., in 1864, was
a mechanical genius. After serving his apprenticeship as a
machinist, he turned to construction, and invented several useful
wood and iron working machines.. In 1890 he took up piano mak-
ing and made a scientific study of piano construction. He was
so successful that his pianos were at once accepted by the whole-
sale trade as of splendid commercial value, and he saw his firm
rise to unexpected magnitude. He died in 1908.
To his surviving partner, Charles Kohler, the credit is due of
organizing the great business in such a manner as to keep pace
MEN WHO HAVE MADE PIANO HISTORY
335
1
with the demand for their
pianos. Born at Newark,
N. J., in 1868, he attended
the public school and studied
for one year at Princeton
College. At the age of 20
he turned to piano making.
Establishing the tirm of
Kohler & Campbell, he found
opportunity to display his
remarkable talent as a fac-
tory organizer and business
man. Supplementing 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 tine 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
Jime, 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 PIANOS AND THEIR MAKERS
pany, Armstrong, Brewster and J. B. Cook companies, located at
Rochester, N. Y. C. H. W. Foster of CMckering & Sons is presi-
dent of this company, with George C. Foster, George L. Eaton,
Charles H. Eddy and William B. Armstrong as vice-presidents.
While maintaining retail warerooms at New York, Boston, Balti-
more and Washington, this company distributes its products else-
where through dealers exclusively.
The house of Wing & Son, New York, was founded in 1868 by
Luman B. Wing, as partner in the firm of Doane, Wing & Cushing.
Luman B. Wing died in 1873, and was succeeded by his son, Frank
L. Wing, who admitted R. Delano Wing (his son) to partnership in
1905. This firm is probably the, pioneer of the mail-order busi-
ness in pianos. Building a reliable instrument, the concern has
met with uninterrupted success during the 43 years of its
existence.
New York is proud of such names as KranicTi & Bach, Strich &
Zeidler, Mehlin & Sons, Behr Brothers, Lauter (of Newark),
Wissner, Stultz & Bauer, Ludwig & Company, Pease Piano Com-
pany, Winter & Company and others who are making history as
manufacturers of meritorious pianos.
Philadelphia has, besides the time-honored Schomacker, the
Blasius, the Lester and the Cunningham Piano companies — all of
whom are as true to the traditions of honest values in pianos as
any the old Quaker City has ever produced.
Among the firms who have done much to keep Boston to the
front is the Henry P. Miller & Sons Piano Company. Henry F.
Miller, born at Providence, R. I., on September 25, 1825, was edu-
cated as a musician and acquired a reputation especially as an
organist. His commercial inclination prompted him, however, to
accept an offer of the Boston piano makers. Brown & Allen, to join
their forces in 1850. After studying with this concern for seven
MEN WHO HAVE MADE PIANO HISTORY
years, he accepted a more
promising position with en-
terprising Emerson, and in
1863 started, in connection
with J. H. Gibson, who 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 tive sons to
partnership, incorporating
finally under the name of
Henry F. Miller & Sons
Piano Company. He died on
August 4:, 1884, at Walvcfield.
His sons took up the work
of their father under the leadership of Henry F. Miller, ,Ir., con-
tinually improving their product so that mauy of tlie greatest
virtuosos are using the Miller grand pianos in their concert work.
Besides pjaying 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 mauy years
ago, Boston can proudly i:)oint 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
Ufiirv F. Jlillur
PIANOS AND THEIR MAKERS
started in Boston tlirougli
liis efforts. The name Ever-
ett •was chosen by Church
because of its euphonious
clearness, which malves it as
easy to remember as it is
easy to spell. John Church
and the other associates of
Lee, having been piano deal-
ers for many years, started
out to build a commercial
piano, but as soon as Lee be-
came president of the Ev-
erett Piano Company 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 piano which it deserved. Lee never lost faith
in its ultimate success, and through liis determination, abh^ as-
sisted by the artistry of his su])erintendent, .John Anderson, he
finally had the satisfaction of seeing his concert grands used by
Reisenauer, J)r. Neitzel, Chaminade, Carreno and other leading-
virtuosos, and the Everett pianos admitted among the selected
leaders of tlie world's ]iianodom.
The John Church Company also controls the Harvard Piano
Company of Dayton, Ky., and, with its large catalogue as music
publishers, is a great factor in the music world. Frank A. Lee, as
president, has guided the destiny of this great company since 1894.
The Ivers & Pond, Briggs, Merrill, Hume, Jewett and Poole
Companies, Theodore J. Kraft and others are maintaining the tradi-
MEN WHO HAVE MADE PIANO HISTORY
339
tions of famoiTS Boston mak-
ers and assisting creditably
in making liistorj^ for the
future.
Turning to the West, we
encounter a galaxy 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 AVilliam 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 Cliicago, 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, Hallet & Davis and Emerson pianos
largely in his early days. When 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 fire 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 AND THEIR MAKERS
ters ill the business center of
the city. In what high es-
teem Kimball was held bj^
the i:)eopIe of whom he
bought is shown b}' the fact
that Hale, of New York, tele-
graphed him on the day of
the fire, " You can draw on
me at once for $100,000."
Hale appreciated the good
customer and demonstrated
unlimited faith in Kimball's
integrity.
A born organizer, Kim-
ball outgrew the limited
sphere of the local piano
dealer. He branched out and
became a jobber on a large
scale. Among his first employees was a lank and lean farm-
er's boy from Wisconsin, who showed such aptness for the
business that he soon became Kimball 's right-hand man. Edwin
Staplet(m Conway was just the man to carry out Kimball's far-
reaching plans. The west being sparsely settled in those days,
but rapidly filling up with a si)lendid class of wealth-producing
farmers, pianos were not in great demand. Kimball resolved to
bring the pianos to the farmer's door. He made Conway the
general field organizer, whose duty it was to travel from place
to place and select in each town the In-ightest young fellow who
could l)e trusted with consignments of organs and pianos, which
he was to sell to the farmers of his neighborhood. Conway's
personality, his energy, power of persuasion and convincing man-
Jy'?^:,y^^c
MEN WHO HAVE MADE PIANO HISTORY :U1
iiers fitted liim excellently
for that work, and many a
prosperous dealer of tlie mid-
dle ^vest 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 3'ear. 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
PIANOS AND THEIR MAKEES
his nepliew, W. Lufkin, and
charged him with the man-
agement thereof, although
Liifkin had, np to that time,
never heen inside of a piano
or organ factory. Kimball
was original in all that he
did. He reasoned that, for
the management of such big
factories as he contemplated,
a man brought up at the
work-bench or at an office
desk would have too narrow
a vision. He wanted a man
who would gust as readily
plan to make 30,000 instru-
\v. ]>ufkin ments a j^ear as 5,000. Luf-
kin was that man. He made the first 5,000 pianos, and is
turning out 30,000 instruments per year now, including most
imposing church organs. Without a doubt, the Kimball factories
stand without a parallel. Not only are they producing all parts
of the piano, from the case up, including iron plates, actions and
ke^'s, but since 1904 the entire mechanism of the player ])iano has
been also made there, including the music rolls. To the small
])arlor organ, the building of church organs was added in 1890.
Kimball reversed the order of things. Two hundred years ago
the church-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-organ builder as
well.
Kimball, not so bold as Conway, listened carefully to the tat-
ter's aggressive plans, worked them down to the line of safe pos-
MEN WliO HAVE MADE PIANO HISTORY
U3
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, 190-1:. 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 Wal-
ton, N. Y., in 1849, spent his
early days on a farm. After
attending the Walton 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 jmb-
lishing house of Barnes & Companj^ 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 partner shii^ with the organ builder, F. K. Wolfinger,
organizing the AVolfinger Organ Company, which was changed to
the Western C*ottage Organ Comi)any, and later on to the Chicago
Cottage Organ Company.
Cable applied the methods used in selling books, as far as ]ios-
sible, to the organ and piano business, with amazing success. Like
344
PIANOS AND THEIR MAKERS
Kimball, he was a born or-
ganizer and an excellent
jndge of men and their abili-
ties. The training which he
had enjoyed in the book-
selling business impelled him
to introduce system in his
manufacturing and selling
organization, with all that
this word implies in modern
business management, and
perhaps he was the first in
the piano industry to profit
by the application of scien-
tific accounting. At all
events, his success was so
rapid, and his business as-
sumed such immense propor-
tions, that it became the wonder of his contemporaries.
Of an exceedingly nervous temperament, Gable 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
basis, and his keen judgment assisted his intuition in making bold
moves on the chessboard of trade with advantageous results.
Starting out in his enterprises by catering to the demands of the
masses, he aimed for the highest in his ][)iano production, and in
1890 he consolidated the business of Conover Brothers, of New
York, with his own, securing at the same time the valuable assist-
ance of that eminent i)iauo constructor, J. Frank Conover, for the
manufacture of the Conover jjiano. As liis business assumed
larger proportions, he called his brothers, Hobart M. and Fayette
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 company was changed to
the Cable Company, in
honor of the founder. F. S.
Cable served as president
until 190.3, 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 player pianos,
and paying careful attention to the development of the artistic
Conover piano, preparing for the introductiou of the same on the
concert platform. In the short space of 20 years the Cable Com-
jiany has attained a position as one of the great leaders of the
western continent, and the genius of II. D. Cable has shown to
contemporaries the great possibilities of the piano business in its
legitimate channels.
Lucien Wulsin, born in Louisiana in 184-5, 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 PIANOS AND THEIR MAKERS
in a Kentucky infantry battalion, and from January, 1864, until the
end of the war, in the Fourth Ohio Cavalry. In March, 1866, he
entered the employ of D. H. Baldwin, a music teacher, who was
selling the Decker Brothers ' pianos in Cincinnati. Wulsin started
in as a clerk, bookkeeper and general factotum, and made himself
so useful that he was admitted to partnership in 1873, the firm
name becoming D. H. Baldwin & Company.
An era of expansion and larger activity was inaugurated. As
the first move, a branch store was opened at Indianapolis. In
1878 the Louisville branch was started under the management of
R. A. Johnston, who was made a partner in 1880. After John-
ston's death in 1882, George W. Armstrong, Jr., Clarence Wulsin
and A. A. Van Buren, who had been employed by the firm for a
number of years, became partners. With the growth of the busi-
ness the necessity of manufacturing became more and more ap-
parent, and in 1889 the Hamilton Organ Company was organized
as a subsidiary concern for the making of organs — the Baldwin
Piano Company, Valley (rem Piano Company and Ellington Piano
Company soon following. Later on the Hamilton Piano Com-
pany was formed, and the firm of D. H. Baldwin & Company
changed into a corporation under the title of The Baldwin
Company, the latter controlling all the above subsidiary com-
panies.
D. H. Baldwin died in 1899, leaving the bulk of his estate for
missionary purposes. Ordinarily this would have meant the wind-
ing up of the business, in order to pay out the large amount which
represented Baldwin's interest, but Wulsin did not propose 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
Baldwin 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 perpetual 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
upon 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 AND THEIR MAKERS
— '..«XAvk^/4^ J, ^
in a letter to the author: " I
realize that the welfare of
our company and the success
of its peojile 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
i being."
It is not to be won-
1 dered at that the Baldwin
pianos carried off the high-
' est prizes, wherever ex-
hibited, gaining even that
much-coveted distinction, the
Grand Prix at the Paris Exposition of 1900. Nor does it require
an explanation why Pugno exclaims, " The Baldwin tone is bound-
less; you can't get to the bottom of it — can't pound it out," and
when, on the other hand, a-sthetic de Pachmann whispers liis en-
chanting Choi)in pianissimo passages on that same ])iano. The
Baldwin piano is an art product, made by artists who are living
and working in an artistic atmosphere, because the man who created
the Baldwin institution is an idealist. Lucien Wulsin was deco-
rated with the Cross of the Legion of Honor at the Paris Exposi-
tion of 1900.
As far back as 1819 an Alsatian by the name of Trayser made
pianos and melodeons in Indianapolis. Drifting about the country,
he came to Ripley, Ohio, in 1869, where he started a piano factory,
which was removed to Richmond, Ind., in 1872, when James S.
and Benjamin Starr acquired an interest in the concern. In 1878
Benjamin Starr
MEN WHO HAVE MADE PIANO HISTORY
349
Trayser retired, and Milo J.
Oliase entered the firm, tlie
name of wliieli was clianged
to tlie Oliase Piano Com-
pany. In 1884 tlie Starr
Brotliers obtained control of
tlie business and changed
the name to the 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
one of the leaders of the
Henry Gennett
middle west. G-ennett 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 tlie 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
PIANOS AND THEIR MAKERS
In the romantic vales of
Bunifort, County of Cork,
Ireland, a l)oy was born on
March 17, 1840, to farmer
Healy, tlie tliirteentli child
of a poor but happy family.
The boy was christened
Patrick Joseph. When the
good " onld sod " would not
yield enough to support the
growing family, Healy sen-
ior paclvcd up his worldly
goods and took his family
to the land of promise and
possibilities. Patrick Joseph
was 10 years of age when
he landed in Boston. At-
tending the public schools,
he had an eye for earning money, and we find him working the bel-
lows of a great church organ for the organist, Bancroft. This man
became interested in the Irish lad, and when Healy had finished
his school coui'se Bancroft secured for him a position as errand
boy with the nmsic dealer, George P. Reed. The errand boy soon
advanced to be a clerk, and we next find him in a responsible [losi-
tion in the great music })ub]ishing house of Oliver Bitson &
Company.
Ditson liad a keen ]terception of the })Ossibilities in the rapidly
developing cities of the west and planned the establishment of
branch houses at Cincinnati, St. Louis, Chicago and San Fran-
cisco. He gave Healy the choice of either of the three last named.
After visiting St. Louis and Chicago, Healy wisely decided for
the latter, and in 1864 the firm of Lvon & Healv 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 the 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
PIAXOS AND THEIR MAKERS
young men enthusiastic
^"orkers for the success of
the firm. Just and fair un-
der all conditions, he dis-
played a sincere solicitude
for all who worked with him.
Like all leaders, he had the
faculty of picking the right
man and putting him into the
right place. As Kimball
found his Conway, so Healy
discovered in another Wis-
consin farmer's boy the qual-
ities which only need oppor-
tunity for develoi)ing into
the making of a strong man.
Charles N. Post entered the
employ of Lyon & Healy as a
bookkeeper in 1864, when Ki years of age. He grew up to be Healy 's
right-hand man, and when the business had outgrown the
sphere of merely dealing in musical merchandise, and the
manufacturing of instruments became a necessity, young Post
was charged with the responsibility of managing that depart-
ment.
After success was secured in the making of guitars, mandolins,
etc., Llealy's ambition was to build an instrument of the higher
order. Although the Erard harp was at that time considered to
be perfection, Healy knew from experience that even that renowned
make was not satisfactory, and he charged Post with the work of
producing a harp which would be acceptable to the artists as supe-
rior to the Erard. Post engaged the services of George B. Durkee,
an inventor of note, and the two men set to work to construct a
Lyon & Healy Harp
MEN WHO HAVE MADE PIANO HISTORY 353
harp which made the name of Lyon & Healy famous wherever
orchestra music is played. Durkee went at his problem with a
well-trained scientific mind and succeeded in constructing a
mechanism which did away with the irritating " buzzing " so
common to the ordinary harp. He further developed a scale so
l)erfect as to make the playing of the instrument much easier. By
enlarging the soundboard he furthermore increased the volume of
tone perceptibly. The first harp 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 Robert 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
PIANOS AND THEIR MAKERS
y ranch in Southern Califor-
nia. Healy's fourth son,
Paul, has since been the ac-
tive head of the great corpo-
ration, and upon his instiga-
tion the manufacture of
pianos has been added. The
; factories are in charge of his
' brother, Mark Healy, who is
studiously preparing himself
for the career of a master
builder of the Lyon & Healy
piano.
Coming from a family of
musical-instrument makers
who pursued that art for
generations in the little town
of Schoneck, Saxony, Rudolph Wurlitzer landed in New York about
1854. His career was such as usually falls to the lot of young Ger-
man emigrants who laud here without means, but endowed with a
thorough education and expert knowledge of their profession.
Struggling for the first few years to earn a living, he finally found
his bearings in Cincinnati, where he established himself as an im-
porter of musical instruments in 1856. With the enthusiasm and
optimism of youth, he overcame the many obstacles and difficulties
facing a young business man who has to earn his capital, and
gradual!}' climbed up the ladder until he was recognized as a power
by his contemporaries. In 1890 his eldest son Howard was
admitted to partnership. By studying the musical-instrument
business in all its phases for several years in Europe, young
Howard was well prepared for his work and soon made his pres-
Rudolph Wurlitzer
MEN WHO 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 with a
capital of $200,000, as the Eudolph Wurlitzer Company, it has now
increased its capital to $1,000,000, and owns the Rudolph Wurlitzer
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, Eudolph Wurlitzer, Sr.,
was able to retire from active participation and enjoy the well-
merited rest of private life. The Wurlitzer Company at present
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 piano 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. Busb, born in
1861, bad served bis ap-
prenticesbip witb Geo. H.
Woods & Company as an or-
gan and p)iano maker, and
from 1881 to 1883 as sales-
man for tbe W. W. Kimball
Company. Jolm Gerts bad
learned piano making in Ger-
many, tborougbly mastering
all brandies of tbe art.
Witb W. H. Busb at tbe
bead as financier, tbe concern
prospered from tbe very
start, and was changed to a
corporation in 1891 with a
paid-up capital of $400,000.
Philantbropieally inclined,
the elder Bush planned to create for Chicago an institution which
should serve music and tbe arts, but before his well-conceived plans
materialized be passed away in 1901 at the age of 74.
Tbe Bush Temple of Music was started in 1902 and completed in
1903, and stands as a monument to tbe enterprise, energy and liber-
ality of the Maryland farmer boy, as one of Chicago's landmarks.
The Conservatory of Music connected witb tbe Bush Temple
was founded by William Lincoln Busb in 1901, with Kenneth M.
Bradley as Director and Mme. Fannie Bloomfield-Zeisler at the
head of the piano department, tbe position now being occupied by
Mme. Julie Rive King. Among the teachers of note who have given
luster to this school, tbe great violinist, Ovide Musin, may be men-
tioned.
William H. Bush
,MEN WHO HAVE MADE PIANO HISTORY
357
William L. Bush, a tal-
ented musician himself, is
veiy solicitous for the last-
ing success of this music
school, which 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 uiDliolding and defend-
ing the ethics of the piano
trade. William 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 jDrice 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.
PIANOS AND THEIR MAKEES
started a piano factory un-
der the name of the Krell
Piano Company. Alexander
died in 1895, and Albert
Krell, St., in 1900.
After his brother's death,
Albert, Jr., retired from the
comi^any and organized the
Krell-French 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 Auto
Grand Piano Company of
America in Connersville,
Ind., making the manufacture of player pianos a specialty.
Among the successful pioneer piano makers of the west Braton
S. Chase has made his mark. Tracing his connection with the
trade back to 1869 when his father started the Chase Piano Com-
pany at Richmond, Ind., Braton acquired a thorough and practical
knowledge of the art under his father's tutelage.
In 1889 he formed a connection with C. H. Hackley, the philan-
thropic lumber king of Muskegon, Mich., and started the Chase-
Hackley Piano Company, for wliich enterprise he soon secured
recognition as one of the leading piano producers of the west,
fully realizing Hackley 's desire to bring fame to the City of
Muskegon as the home of the Chase Brothers and Chase-Hackley
pianos.
Among the many sturdy 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 Sclmlz was one of
those typical characters
whose will-power could not
be downed by adversity or
obstacles. Born at War-
burg, Germany, in 1842, 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 Sclmlz 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
360
PIANOS ANl^ THEIR MAKERS
and learned tlie art as it had
then been developed. After
a two years' stay hi London
he sailed for New York in
1868 and made his liome in
( 'hiea,n'o. The piano indus-
try being then in its infancy
in America, Schulz returned
to cabinetmaking and, in
]iartnership with two col-
leagues, started a shop at
Chicago in 1869. In 1876
Schulz bought out his ])art-
ners. With remarkable en-
ergy he overcame all the diffi-
culties which beset a young
manufacturer who lacks ex-
perience as well as ca])ital, and his superior craftsmanship, ex-
traordinary capacity for work, together with his inborn honesty
and integrity, soon brought prosperity and his business grew
steadily. In 1889 it had assumed such large proportions that it
was incorporated under the name of M. Schulz Company, with his
son, (_)tto Schulz, as vice-president. The manufacturing of organs
and pianos was now made a specialty.
Like many pioneers, Schulz had overtaxed himself in the at-
tem]it to satisfy ambition and passed away in 1899 at the age
of 57.
His son. Otto Schulz, succeeded him as president. Under 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 German orphan boy has grown to imposing propor-
tions, with splendid prospects for future development.
otto Schulz
MEN WHO HAVE MADE PIANO HISTORY 301
Born in Snavia about
GO 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 their
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 jDiano trade, Steger accumulated great wealth in a
comparatively short period and is at present counted among the
362
PIANOS AND THEIR MAKEES
Julius Bauer
largest producers of pianos
in the west.
Among the pioneers of
the western piano trade,
Julius Bauer & Company
have always maintained a
reputation for producing a
high-grade piano of merit.
Founded in 1857 by Julius
Bauer, the business, since
the death of the founder in
1884, has been under the able
management of his sou, Wil-
liam M. Bauer.
History is made for the
west by such names as C*hick-
ering Brothers, Bush & Lane,
Geore-e P. Bent, Newman
Brothers, the Melville Clark Piano Company, Schumann
Piano Comi)any, Gram-Richtsteig, Grinnell Brothers, the Far-
rand Company — famous for the manufacture of high-grade
instruments.
The fact that Chicago has, during the past decade, become
the greatest piano market in the world is largely due to the energy
and enterprise of firms like Smith, Barnes & Strohber Company,
Price & Teeple, Hobart M. Cable Company, Schaeffer Piano Mfg.
Company, Cable-Nelson Piano Company, Adam Scliaaf, Schiller
Piano Company, the Haddorif Piano Company, the Straube Piano
Company, P. A. Starck Company, Arthur P. King, H. P. Nelson
Company, and others, who manufacture pianos in ciuantities of
from 3,000 to 15,000 per year in their modern establishments. It
MEN WHO liAVE MADE PIANO HISTORY
363
is claimed that tlie 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.
^^--m-^^-i^i^ZZ
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 PIANOS AND THEIR MAKERS
In 1835 he established his own plumbing shop. Thrift and
economy brought him wealth, so that in 1848 he could erect a
large building on Main Street. The upper part of this building
he rented to a melodeon maker by the name of Greene. Having
surplus money to invest, Estey bought an interest in the melodeon
business, continuing, however, his profitable plumbing establish-
ment. Fire destroyed the building in 1857, and Estey found him-
self almost a poor man once more, as all his money had finally
loeen invested in the melodeon factory. With the grit of the
Yankee, Estey did not give up. He had observed the possi-
bilities of the organ business, and within a year he started again
to build parloj organs.
In 1860 he engaged Levi K. Fuller as engineer. Fuller was
then only 19 years of age, but had studied mechanics so thor-
oughly that he became most valuable to Estey. The business grew
by leaps and bounds. Superior quality was- the watchword all
through the factory. Fuller was admitted to partnership to-
gether with Estey 's son Julius in 1866, when the Estey Organ
Company was organized with Jacob Estey as president, Levi
K. Fuller, vice-president, and Julius Estey, secretary and treas-
urer. From its small beginning the production of the Estey
factories rose to an output of 1,800 organs per month. The
Estey factory became the alma mater of a number of young
students who later on made names for themselves in the organ
world. Joseph Warren, of Clough & Warren; the four Whites,
father and sons, of Wilcox & White fame ; Stevens, of the Stevens
Organ Company; Putnam, of the Putnam Organ Company,
Wright, of Mason & Hamlin, and last, but not least, Votey, of the
Aeolian Company, are all graduates of the Estey school of organ
building. In 1885 the Estey Piano Company was organized, estab-
lishing a large factory in New York City. Branch stores had been
MEN WHO HAVE MADE PIANO HISTORY
305
established in New Yorlv, St.
Louis, Pliiladelpliia, Boston,
Oliicago, London (England),
and elsewliere. Wherever
exliibited, the Estey pianos
and organs carried off high-
est awards for superior con-
struction and workman-
ship.
Jacob Estey was a man
of firm cliaracter, molded in
the school of adversity from
his earliest childhood, but,
l^erhaps 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 abilit}'. 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 i^artners, the
366
PIANOS AND THEIR MAKERS
management of the business
rested upon him, and with
the inborn Estey spirit he
sought for new fields in
which to expand the business
and spread tlie fame of the
name of Estey. He com-
menced the buikling of large
church organs in 1901, erect-
ing a special factory with the
most modern equipment for
that purpose. It was not for
him to see the full develop-
ment of this new enterprise.
He died on March 7, 1902,
aged 57. His sous, Jacob
Gray Estey and J. Harry Es-
tey, succeeded him as man-
agers, enjoying the services of their trusted office manager, L.
W. Hawley, who has been in the continued service of the Estey
Company for over 50 years.
John Boulton Sim^json acquired control of the Arion Piano in
1869, and manufactured high grade pianos until 1885, when he
formed a combination with the Esteys, by which the name was
changed from Arion Piano Company to Estey Piano Company.
A large factory with modern appliances was erected in New
York, and the Estey grand and upright pianos soon became a
dominant factor in the piano trade. John Boulton Simpson
is still jjresident of the company, assisted by Jacob Gray
Estey and J. Harry Estey as active business managers, main-
taining the prestige of the Estey reputation for high-class
products.
Julius Estev
MEN WHO HAVE MADE PIANO lilSTORY
367
Every now and then we
liear 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. With 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 \\'hite
368
PIANOS AND THEIR MAKERS
He established a reputation
as an expert tuner, and in
1865 the great Estey Organ
Comiiany called him to
Brattleboro, Vt., as super-
intendent of their tun-
ing department. He worked
with the Estey Company
twelve years, and during
that time taught his three
sons the art of organ making.
When in 1877 that great
captain of industry, H. C.
Wilcox of Meriden, made
White and his sons a tempt-
ing offer to start an organ
factory, the family packed
up their belongings and
moved to Meriden, Conn. The Wilcox & White Organ Company,
capitalized at $100,000, was organized, and the White family be-
gan to make their imprint on the history of organ and piano
building in the United States.
The oldest son, James H. White, born on September 26, 1847,
had served for a number of years in the Wanamaker house at Phila-
delphia, studying connnercial usages and merchandising, before he
learned organ building at Estey 's. It was but natural, therefore,
that he should l)e intrusted with the business management of the
new concern. Like his father, born with considerable talent and
love for music, we find him as a young man playing the organ in
his church at Brattleboro, Vt.
Having acquired a thorough knowledge of the works of the great
composers, and being an expert judge of tone and tone quality,
James H. White
MEN WHO HAVE MADE PIANO HISTORY
369
James H. White would ever
searcli for the highest in
tone production, and, to-
gether with his brotliers,
supplemented the inventions
of liis father. The records
of the United States Patent
Ofifice sjjeak 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
Edward II. White
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 April 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 company to the
front in the industry of piano-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)tember 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-
370
PIAXOS AND THEIR MAKERS
ment. He applied himself
so zealously to his manifold
duties that he passed away
on December 9, 1897, aged
only forty-one 3'ears. The
founder, Henry Kirk White,
died January 13, 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 $450,000.
After the decease of Ed-
ward and Howard White,
Frank C. White, 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 commercial 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 Company in
1871, Charles A. Sterling organized in 1873 the Sterling Organ
Company with a capital of $30,000. The manufacturing of pianos
was commenced in 1885. Shortly after, J. R. Mason joined the com-
pany, acting as secretary and treasurer until 1901, when he was
elected to the presidency. A thorough piano-man, with many years
of experience in the west, where he was born in 1847, Mason
Howard White
MEN WHO HAVE MADE PIANO HISTORY
371
developed the business of
the company to its present
magnitude, improving the
quality of the instruments in
every respect, being particu-
larly 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. E.
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 Eoosevelt 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
PIANOS AND THEIR MAKERS
Clarence Eddy gave memo-
rable concerts upon the im-
mense pipe organ erected by
tlie Farrand & Votey Com-
pany.
E. S. Votey displayed his
ingenuity as an inventor by
devising many imi)rove-
ments in churcli-organ mech-
anism, and more especially
in his work on j)iano players.
He had such implicit faith
in the future of the piano
])la3'er that he joined the
Aeolian Company in 1897,
buying the pipe-organ and
player-i)iano departments of
the Farrand & Votey Company, and building his first thousand of
Pianolas in the Detroit shops. The company's name was now
changed to " The Farrand Company," and special attention was
given to its own creation, the Cecilian player piano, an instrument
of merit and high quality. The company has also put upon the
market a metallic piano-player action.
An expert reed-organ builder, Isaac T. Packard interested a
number of ca})italists to start an organ factory at Fort Wayne,
Ind., in 1871. Packard was a tine mechanic and inventor, produc-
ing an instrument of superior quality. Under the conservative
guidance of S. B. Bond, as president of the company, steady
progress was made, the concern depending more ni^on the
superior quality of its product than upon the ordinary business
propaganda.
^J. R. Mason
MEN WHO HAVE MADE PIANO HISTORY
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 the 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 piano 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 five
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
gf?1l.U^
374
PIANOS AND THEIE MAKERS
of pianos in 1893. Main-
taining the liigii standard of
tlie Packard name, the pi-
anos were readily accepted
by the trade as liigh-class in-
struments, and since the suc-
cessful introduction of the
Packard Player Piano the
business of the corporation
has assumed commanding-
proportions. The Packard
products 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 1885.
A. B. Chase died in 1877, when Calvin Whitney assumed the man-
agement. Whitney was a strong character, who impressed his
personality indelibly upon the enterprise. Born at Townsend, Ohio,
on September 25, 1846, he started in business at the age of 19
with a capital 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 the highest and purest. With unfaltering faith he con-
quered all the difficulties which the western pioneer manufacturers
had to encounter and had the satisfaction of seeing his company
rank in the lead of high-class piano manufacturers. He was among
Calrin Whitney
MEN WHO HAVE MADE PIANO HISTORY
375
the first to take up the player
piano earnestly, and in 1905
produced the Aristano grand
player piano. 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.
Whitnej'^, son of Calvin, edu-
cated in tlie factory and office
of the Chase Company, is
preparing himself for great-
er work in the future, acting fj'.
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 offered him the
agency for the Estey organs, in the western states. Story closed out
376
PIANOS AND THEIR MAKERS
liis business at Burlington
and established himself at
Cliicago. In 1868 he ad-
mitted Isaac N. Camp as
l)artner. The firm of Story
& C'amp soon became one of
the leaders in the piano and
organ trade of the west, hav-
ing stores at Chicago and St.
Louis, controlling a large
wholesale and retail trade
through the entire west.
With his characteristic
keenness and foresight, Story
observed that the west would
eventually manufacture its
own musical instruments,
and he therefore retired from the iirm of Story & Gamp and
in 1881-, with Melville Clark and his son, Edward II. Story,
founded the iirm of Story & Clark, for the manufacture of reed
organs.
jNlelville Clark was known as an expert reed-organ builder, who
had i)atented many improvements. The business was successful
from the start, and in 1888 the Story & Clark Organ Company was
incori)orated, withE. H. Story, son of the founder, as president, and
Melville Clark, vice-president. The foreign trade grew so rapidly
that a factory was erected at London, England, in 1892, imder the
management of Charles H. Wagoner, and another in 1893 at Berlin,
Germany.
The organs designed and made under the supervision of Mel-
ville Clark were of the highest order in qualit}^ and tone, and, when
E. II. story
MEN WHO HAVE MADE PIANO HISTORY
377
in 1895 the making of pianos
was commenced, the same
Iiigli standard was main- ?<
tained. Melville Clark sev-
ered his connection with the
company in 1900, to start the
Melville Clark C*ompany,
and the management has
since been in the hands of
Edward H. Story. The de-
mand for pianos increased l.fe'"'-
at such a rate that the erec-
tion of larger factories be-
came necessary, and in 1901
the company erected its
model i^lants at Grand
Haven, Mich. Counted
among the largest joroducers
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, III, we find him in 1880 at Chicago making-
organs under the firm name of Clark & Eich.
Melville Clark
378 PIANOS AND THEIE MAKERS
In 1884 he joined H. L. Story under the firm name of Story &
Clark. Desirous of devoting himself entirely to the development
of the piano-player mechanism, Clark severed his connection with
the Story & Clark Piano and Organ Company in 1900, after 16
years of zealous activity, and started the Melville Clark Piano
Company with a capital of $500,000, erecting modern factory
buildings at De Kalb, 111. The patent records tell the story of
Clark's activity and success in his efforts in that direction. Clark
produced his first 88-note cabinet player in January, 1901, and his
88-note interior player piano in 1902, while his first grand player
piano was completed in 1904. He had the satisfaction of seeing
his self-playing grand piano used in a public concert at New
Orleans in December, 1906, under the auspices of L. Grunewald &
Company. Among the many improvements in player mechanism
for which Clark obtained patents may be mentioned the appli-
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 Engelhardt, senior partner of Engel-
hardt & Sons, is interesting. Born in Germany, he came with his
parents to New York 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 Army, and took part 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
army he entered the employ of the author, and was soon advanced
to the position of superintendent of the soundboard department
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
m
Ambitious to be more
than a mere souudboard
maker, Engelhardt souglit a
position in a piano-action
factory. He finally found
employment witli Steinway
& Sons, where for seven
years he had charge of the
action department as fore-
man. In January, 1889, he
formed a partnership with
A. P. Eoth, who had acquired
a thorough business training
in the author's store and
general offices in New York,
and the firm of Eoth & 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 i^rospect that its future is guaranteed by the activity of his
sons.
Another firm which graduated from the Steinway school is
Wessell, Nickel & Gross, action makers. Otto Wessell, born in
380
PTAXOS AND THEIE AIAKERS
Holstein, Germany, in 1845,
came to Ameriea Avitli liis
])arents in 1847. Graduat-
ing from the New York pulj-
lic scliool, lie was apju'en-
ticed to a cabinetmaker, and
improved upon tliat by
learziing tlie piano trade
afterward. While in the
employment of Steinwa>' &
Sons he advanced to a jjosi-
tion of trust and responsi-
bility. In 1875 he started in
business, forming a partner-
ship with his colleagues,
Nickel and Gross, who were
also employed as action
makers by Steinway & Sons.
Because of their practical experience in producing the high-
est class of work, the business was a success from the start and
the lirm has ever since maintained the leading position for
cpiality.
Otto Wessell was a self-made man. With few opportunities in
his youth, he achieved his prominent position in the business world
by force of character, unimpeachable integrity and that peculiar
noblevsr and liberality which is usually acquired only by those
who have to commence at the bottom rung of the ladder. The
writer often met Otto Wessell, in his early days, at piano fac-
tories loaded with two upright actions, which he had carried from
his shop, partly to save the expense of hiring an expressman, but
also to see whether his customer was satisfied, and a broad smile
otto Wessell
MEN WHO HAVE MADE PIANO HISTOKY
381
•f'A
1
would run over liis genial
face wlien the actions
were accepted without
criticism.
From those small begin-
nings Wessell saw his firm
rise to prominence second
to none in America, employ-
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
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 Witt Lydeeker in
1864, succeeding Ole Syverson, who had founded the business in
1856. In 1877 Lydeeker retired, and Schmidt continued until
1886, when ill health compelled him to seek tlie 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 Fredtrick Sfhinidt
382
PIAXOS AND THEIR MAKEES
diaries Pfriemer is an-
other tSteinway graduate
who made his mark.
Born in 1842, under the
shadow of the romantic old
castle Holienzollern, where
the forefathers of the Em-
peror of Germany dwelt,
Pfriemer performed his duty
as a soldier during- the Aus-
tro-Prussian War and came
to America in the latter part
of 1866.
A cabinetmaker by trade,
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
for making a peculiarly pear-shaped hammer, Pfriemer built up a
large and lucrative business. He died in 1908. The business is
carried on by his two sons.
PART FOUR
Influence of Piano Virtuosos upon the Industry
CHAPTEE I
Bacli, Mozart, Chopin, Liszt, Eubiastein, Biilow, Joseffy, Eosen-
thai, Carreno, de Pachmann, Busoni, Paderewski, Hofmann.
PART FOUR
CHAPTER I
INFLUENCE OF PIANO VIRTUOSOS UPON THE
INDUSTRY
THE great virtuosos r^^
and teachers of the
piano have ever been
vahiable helpmates of the pi-
ano maker. He receives liis
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 tlie 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
PIANOS AND THEIR MAKERS
Wolfgang Amadeus Mozart
be satisfied with tlie clavi-
chord and harpsichord. In
their days music was the en-
tertainment of the privileged
higher classes, who assem-
bled in salons to plaj^ cham-
ber music of a pleasing and
enchanting, but not soul-
stirring, character. Johann
Sebastian Bach, that titan of
the organ, felt the need of
something stronger, more
positive and powerful than
the clavichord, and it was he
who aroused Silbermann to
greater efforts in piano
con-
building, when he
demned his first pianos in unmeasured terms.
Bach must have had a divine inspiration as to the ultimate
development of the piano when he wrote his immortal composi-
tions for that instrument, which was tlien in its infancy. It is
cjuestionable whether Silbermann, the organ builder, would have
striven to improve his piano but for Bach's criticism, which hurt
the feelings of the proud and sensitive artisan and made him re-
solve to construct a piano which would compel Bach's favorable
comment and ai:)proval. And it was the great cantor of the Thomas
School of Leipsic who gave the first testimonial to a piano maker,
when he played upon and praised the improved Silbermann pianos
at the New Palace at Potsdam in the presence of Frederick the
Oreat.
INFLUENCE OF VIRTUOSOS
387
Bacli's son, Joliann
Christian Bach, did not
liesitate to serve as demon-
strator of tlie piano, with
the avowed purpose of mak-
ing propaganda for the pi-
ano as a musical instrument.
He went to London, tak-
ing several German pianos
along, and there gave a num-
ber of piano 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
Ludwig von Beethoven
the clavichord and equally more musical than the harpsichord tone.
Bach aroused the London harpsichord makers to tlie 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 pianos 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.
588
PIANOS AND THEIR MAKERS
Frederic Chopin
and liis admiring friend
Nannette Stein-Streiclier,
had to build for lijm a six
and one-balf octave grand
piano.
We of the present day,
used to iron-frame construc-
tion, tlie aid of macliinery,
etc., can scarcely conceive
what difficulties that ingen-
ious woman piano builder en-
countered when she attempt-
ed to meet Beethoven'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 Nannette Stein-Streicher piano.
Like Bach, Beethoven was powerful, titanic. He admired the
strong, the mighty, the forceful, and when John Broadwood sent
him one of his improved grand pianos from far-away London,
Beethoven, in spite of his sincere friendship for Nannette, wrote
to London regarding the piano, " I shall regard it as an altar
upon which I shall place the most beautiful offerings of my spirit
to the divine Apollo."
Chopin, that most poetic of all composers, and, in his day,
boldest of all performers, allowed his admiration for the Pleyel
piano and his personal friendship for the maker to control him
to such an extent that he would not play on any other piano if
he could obtain a Pleyel.
'A
o
INFLUENCE OF VIETUOSOS
389
Franz Liszt in liis early rf:^:yWT!SSS!Zrri^W'?miiS^S^^m^-
days was a " lioiy terror "
for piano manufacturers.
His colossal teelmique and
powerful stroke demanded
an action of superlative con-
struction and workmanship.
It is said that at his tirst 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 tirst
chords, so that another piano
had to be provided.
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,
Ibach 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 THEIR MAKERS
■^^SSK^SfflSiaBKWmiWW Next to Liszt, Anton Ru-
binstein will perhaps l)e
recorded as the greatest pi-
ano virtuoso — Rubinstein's
art developed with the piano.
In 1840, as a boy of 10, he
played on the delicate i)ianos
then made in Paris, but
later on Becker as well as
Schroder, of St. Petersburg,
built for him modern grand
pianos, playing which he
could allow his genius free
rein, fearless of conse-
quences to the piano.
Whoever has heard Ru-
binstein, while he was in his
prime, knows that he sur-
passed even Liszt in forceful attacks on the piano, and, next to
Liszt, Rubinstein has made greater propaganda for the piano than
any other virtuoso. His testimonials were sought for, and he
gave them freel}^ and willingly to the many makers of meritorious
grand pianos.
That scholarly genius, Hans von Biilow, was hard to please in
his clioice of pianos. Not of that storming temperament of a
Liszt or Rubinstein, Biilow rather discouraged great volume of
tone, demanding a sensuous mellowness, which he could at will, if
necessary, raise to thundering chords by that wonderful control
which he had over his technique. How adverse Biilow was to being
considered a demonstrator of piano quality is illustrated by an
incident which happened on his American journey in 1875 and
Anton Rubinstein
Steinway Hall, New York
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 piano, 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 Hans von Buiow
piano maker a strong testimonial, praising the superior qualities
of the piano.
Who has not listened to Rafael Joseffy's wonderful pianissimo
passages and wondered how the same piano upon which Liszt and
Rubinstein 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 Rubinstein 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
392
PIANOS AND THEIR MAKERS
•'. satisfaction with the piano
lie plays ujion.
Moriz Rosenthal is an-
other of the virtuosos who
demands much of tlie piano
mal<er. Sensitive to an ex-
traordinary degree, Rosen-
tlial insists upon an evenness
. of scale, singing quality, but
* also powerful tone, in order
to exliibit his masterly con-
trol of plirasing, which
makes his rendering of
Liszt's Don Juan para-
phrase so captivating.
And wliat of tlie dream-
ing Paderewski, the lyric
de Pachmann, the versatile
Busoni, or captivating Carreno? Do they not call for ex-
traordinary display of genius on the part of the joiano makers,
and are our present-day master builders not equal to their
demands ? The many testimonials, clothed in phraseology
which does not permit 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, Plej^el,
Herz and others, took such intense interest in the development of
the piano that they invested their money earned on the concert
platform in ])iano 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 tlie
Herz-Erard grand piano
action.
The erection of concert
balls by piano manufactur-
ers is entirely due to the in-
fluence of the virtuosos.
Very few cities bad concert
balls i^ossessing the neces-
sary acoustic qualifications
for piano recitals, conse-
quently Broadwood built bis
recital ball in London; at
Paris tbe Salles Erard,
Pleyel and Herz appeared;
in New York, Steinway,
Cbickering and Steck balls were erected; Vienna bas its Saal
Bosendorfer and tbe Saal Ebrbar, and in Berlin we find tbe Saal
Bliitbner — all of them built for tbe purpose of permitting tbe
player's virtuosity and tbe piano's tonal qualities to be beard 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-
prehension 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-
De Pachmann
ments.
When Franz Liszt, who
admired the Erard, wrote to Bosendorfer, " The perfection of
your grand piano surpasses my most idealistic expectations,"
397
398
PIANOS AND THEIR MAKERS
and then wrote to Steinwaj',
" Your grand piano is a
glorious masterpiece in
power, sonority, singing
quality and perfect liar-
monic effects," lie used for-
cible language to express liis
conviction.
Rubinstein is on record
for unstinted praise of the
Ebrbar, Plej^el, Bliitbner and
many otber pianos. After
using tbe Steinway in 215
consecutive concerts " with
eminent satisfaction and ef-
fect," he so stated. Rafael
Joseffy used the Bosendor-
fer, Bliitlmer, Erard and Chickering i)ianos and expressed his ad-
miration for all of them because they merited such, and now plays
the Steinway. De Pachmann dreams his Chopin interi^retations
upon all celebrated pianos and goes into ecstasies over the Bald-
"win. Exacting Biilow, averse to anything smacking of advertising,
gave tone and character to the opening of the Saal Bosendorfer at
Vienna and of Chickering Hall in New York, but did not overlook
the merits of the Irmler nor the Broadwood and many others.
Teresa Carreno finds great pleasure in pjlaying the Bliitlmer,
Schiedmayer, Weber and Steinway, and indorses the Everett as
"■ a distinct achievement in i>iano construction." Ossip Gabrilo-
witsch admires Becker, lauds the power and brilliancy of the Ever-
ett and praises " the phenomenal carrying and singing quality "
of the Mason & Hamlin. Moriz Rosenthal is " enchanted " with
Teresa Carreno
&
Ph
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, Bausch 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 MAKERS
"" the piano is not of the high-
est order, the artist cannot
afford to use it, no matter
what financial consideration
might be offered, because, if
he should use a poor piano
in his concerts, liis own
reputation as a performer
, might be ruined.
Since the piano manufac-
turer craves the indorse-
ment of leading performers,
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 the artist wherever he may require them and
is solicitous for the artist's personal comfort, just as Nannette
Stein-Streieher cared for Beethoven 170 years ago. Modern
piano makers go beyond that. They assume all the risk,
willingly granting to the artist all possible benefits. It is of
record that not many years ago a piano house made a con-
tract with a pianist, guaranteeing him $30,000 for a season's
concert journey, no matter what the proceeds might be. It was
a gamble, because the artist was entirely unknown in America.
The guaranteed smn was more than the artist had earned in his
entire career, and he was, of course, elated over his good fortune.
Then, how surprised was he when, at the end of his journej', the
l)iano maker handed him his check for an additional $15,000, be-
cause the concerts had drawn full houses, for which fact the in-
Josef Hofraann
«
H
a
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 piano is the expert, capable of
rendering judgment as to quality 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
CHAPTEE 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 together 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-
dicale 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
406
PIANOS AND THEIR MAKERS
(1) To strengthen the re-
kitions between all the mem-
bers of the industry.
(2) To facilitate the de-
velopment of their pros-
perity.
(3) To support all claims
and requests regarding du-
ties, taxes, railroad and in-
surance rates, etc.
(4) To furnish members
information regarding the fi-
nancial standing of clients,
and finally to maintain
loyalty and dignity in their
commercial relations. The
annual dues are 20 francs
for each member. No for-
eign manufacturer can belong to the chamber until he has
been established in France 10 years and the majority of his
products are manufactured in France. The officers are : a
president, two vice-presidents, a secretary-general, a keeper of
records, a treasurer and an assistant secretary. The election of
officers is held annually. The organization is divided into five
groups, as follows:
(1) Piano Industry (pianos and organs).
(2) AVind Instruments (wood and brass).
(3) String Instruments (violins, etc.).
(4) Supplies.
(5) Automatic Instruments.
Each group has its own organization, with a president and
secretarv.
Gustave Lyon
NATIONAL ASSOCIATIONS
407
In case of differences
among members, with each
other or with outsiders in
connection witli the industry,
the president appoints a
committee of arbitration,
wliose members shall act as
friendly advisers to the dis-
puting parties. 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
treasury.
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 Syndicate." Franz Schmidt is acting president and
Friedrich Ehrbar, one of the directors. Ludwig" Bosendorfer is
the only honorary member of the body.
Germany has a large number 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 PIANOS AND THEIR MAKERS
r^ ''r:'-^-:-'-'^-,:'T>-<-'-m'V^-r::-^-^-r';^^^;r^^ Scliiedmayer as president.
. , The " Church Organ Build-
ers " followed in 1895,
,' " Musical Instrument Mak-
ers " in 1897 and the " Pi-
}} ano Dealers " in 1899. The
" National Association of
Piano Manufacturers " pur-
; sues the same objects as its
, Paris contemporary, but in
,, ; addition thereto has entered
upon an effective policy of
_, practical aid to its meni-
, bers. It is, for instance,
f comi)ulsory for each manu-
facturer to educate a num-
ber of ai)prentices propor-
tionate to tlie number of men employed in liis factory. The ener-
getic president of the association, Privy Commercial Counselor
Adolf Scliiedmayer of Stuttgart, is organizing a trade school for
piano makers in tliat city, to assure the education of young men in
tlie scientific theories and practice of piano building. This is tlie
first institution of its kind, and when fully establislied will be of
great service to tlie industry at large. The scliool is mainly sup-
ported by contributions from members of the associations and
enjoys the protection and aid of tlie royal government of
Wurtemlrarg.
The " National Association of Piano Dealers," witli head-
quarters at Leipsic, has, from its inception, under the al)le leader-
ship of President Carl Andre of Frankfort, a./M., inaugurated
and carried on a most energetic campaign against fraudulent ad-
Carl Andre
NATIONAL ASSOCIATIONS 409
vertising, sham sales and all dishonest or disreputable methods
prevalent in the piano trade, with excellent results. The associa-
tion has 344 active members and maintains- a bureau of informa-
tion, publishing periodically confidential circulars containing rec-
ords of objectionable people dealing in pianos 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-president and treasiirer, Her-
mann Feurich 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 March, 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 generaltrade
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 PIANOS AND THEIR MAKEES
measures affecting the aforesaid interests ; to secure the more eco-
nomical and effectual winding up of the estates of bankrupts or
insolvent debtors; to endeavor to secure prosecution of fraudulent
debtors, and to undertake, if requested by both parties, settlement
by arbitration."
In the United States the piano manufacturers of New York
organized the first association in the fall of 1890. William E.
Wheelock was elected first president and served until 1893. Later
on a number of local associations of piano manufacturers and
dealers were organized who combined in August, 1897, to form the
" National Piano Manufacturers' Association of America." Its
object is the furtherance of:
(1) A better acquaintance among the members of the trade,
good-fellowship and interchange of views on topics of mutual
concern.
(2) The ethics of the piano trade.
(3) Territorial rights of manufacturers and dealers in regard
to selling pianos.
(4) A uniform warranty.
(5) The products of supply houses : i.e., the question of stamp-
ing the manufacturer's name upon piano parts furnished by the
supply houses to the trade.
(6) The relation of the manufacturers to the music-trade
press.
(7 and 8) To obtain reductions in insurance and transportation
rates.
(9) The establishment of a bureau of credits.
(10) Legislation by united action; that more uniform laws
shall be enacted in several States regarding conditional sales, and
such other matters of importance to the piano trade as may come
Tip from time to time.
/for
Presidents of the National Association of Piano Manufacturers of America from
1897 to 1911
Presidents of the ^^ational Association of Piano Dealers of America from 1902 to 1911
NATIONAL ASSOCIATIONS 411
The association is governed by a president, two vice-presidents,
a treasurer, secretary and assistant secretary. Contrary to the
European system, where officers, once elected, are regularly re-
elected as long as they are able to attend to their duties with effi-
ciency, this association changes its governing board (with 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
effective 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
CHAPTEE II
The Trade Press — ^Its Value to the Industryo
PART FIVE
CHAPTER II
THE TEADE PEESS— ITS VALUE TO THE INDUSTEY
IN America the piano-trade press evolved slowly and, after
many interruptions from so-called musical journals, the first
of which, 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 4, 1818, he appeared at Covent
Garden in " Oberon " at the age of nine, singing the part of a
" fairy." In 1841 he came to New York, welcomed by such men
as William Cullen 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
PIANOS AND THEIR MAKEES
aged to publish the " Broad-
way Journal," enlistiug Ed-
gar Allan Poe as editor. He
found, however, his real field
of usefulness in his " Mu-
sical Chronicle, ' ' in which he
interested Jonas Chickering
as well as the leaders among
the New York piano manu-
facturers. He had discovered
that the interests of musical
art and the interests of the
piano industry were interde-
i:)endent and that the one
must support the other for
mutual benefit. He, tliere-
fore, devoted considerable
energy to the propaganda of the piano. In course of time he
changed the title of his publication to " Musical Times,"
•' Philharmonic Journal " and finally to " The American
Art Journal." He was one of the founders of the Philharmonic
Society and also organized the Mendelssohn Union of New
York.
As musical critic of the " New York Tribune " and editor-in-
chief of " Frank Leslie's Illustrated Newspaper," Watson was for
many years one of the pillars of musical life in America. He died
on December 4, 1875, at the age of 57. " The American Art Jour-
nal " was continued by Watson's pupil, William M. Thoms, until
his retirement in 1906.
The " Music Trade Eeview," founded in November, 1875, by
John C. Freund, ai)peared for about two years ; it was followed
in 1878 by the '' Musical Times," which soon changed to " Musical
Henry C. Watson
THE TRADE PEESS 417
and Dramatic Times." In 1881 Freund started a journal called
" Music," which title was changed to " Music and Drama."
" Freund 's Weekly " appeared 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 Milton
Weil, " Music Trades."
Charles Avery Wells established the ' ' Music Trade Journal ' '
in 1876, which he changed to the " Musical Critic and Trade Ee-
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
Eeview," 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 piano industry of
the west.
' ' The Presto ' ' was founded at Chicago by Frank A. Abbott in
418 PIANOS AND THEIR MAKERS
1883. The ' ' Presto Year Book " is a very valuable, historical
compendium of trade events. Abbott associated himself in 1894
with C. A. Daniell, who holds the responsible position as editor-in-
chief of the various Presto publications.
The " Chicago Musical Times " was started by William E.
Nickerson in 1885, and has been developed to its present com-
manding position by C. B. Harger, who acquired control in 1895.
George B. Armstrong established his dignified monthly jour-
nal, " The Piano Trade," at Chicago in 1903.
In 1910 C. A. Daniell assumed the management of the ' ' Piano
Magazine," an illustrated monthly published in New York City.
This publication treats mainly of the historical, musical and tech-
nical aspects of the piano and allied musical industries in an enter-
taining manner, thus differing from the trade journals which deal
mainly with the news of the day.
The " Zeitschrift fiir Instrumentenbau " was established by
Paul de Wit at Leipsic in 1880 and has a wide circulation all over
Europe.
The " Welt-Adressbuch " of musical industries, compiled and
published by Paul de Wit, is a most valuable reference book. It
contains the names of all the firms connected in any way with
musical industries in all parts of the world.
The " Musik Instrumenten-Zeitung, " published in Berlin, was
started in 1890.
In England the " London and Provincial Music Trades Re-
view " was established in London in 1877; " Musical Opinion and
Music Trade Review," also a monthly publication, often contains
valuable contributions of interest to the piano trade. ' ' The Piano
Journal " is a monthly devoted entirely to the interests of piano
makers and dealers. The monthly journal, " Music," also makes
reference to trade topics.
THE TRADE PEES^S 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 theil von jener
kraft, die boses will und gutes schafft." Eepeated 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
420 PIANOS AND THEIR MAKERS
been demonstrated by its founder, Henry C. Watson, who enjoyed
the respect and warm friendship of his supporters as well as that
of the community at large. The value of an honest and able trade
press is almost unmeasurable in the coin of the realm. From year
to year the piano-trade press has grown in dignity and usefulness,
and, just as soon as the industry itself gets entirely upon the
plane of legitimate 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
CHAPTEE III
LITEEATUEE ON THE PIANOFOETE
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 by a bril-
liant writer, but of little value to the piano maker. I
Kusting's " Practisches Handbuch der Pianoforte Baukunst,"
Berne, 1844, is a more practical 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, " Versuch
einer Geschichte des Clavierbaues," Vienna, 1853.
Welcker von Gontershausen published in 1860 ' ' Der Clavierbau
in seiner Theorie, Technik 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. Eimbault published in 1860, in London, his ambitious
work, " The Pianoforte." Written at the time when the English
423
424 PIANOS AND THEIE MAKERS
piano industry was at its height, it is pardonable that the author
laid his emphasis on English efforts and achievements rather at
the expense of the French, German and Austrian schools. It must
be assumed that the achievements of the latter were not known
to him in their entirety and importance. Especial credit is, how-
ever, due to Eimbault for having produced documentary evidence
of Christofori's priority as inventor of the pianoforte.
G. F. Sievers of Naples, an able piano maker, published in 1868
his " n Pianoforte Guida Practica," with a special atlas showing
piano actions in natural size and therefore of great value to the
piano student.
Dr. Oscar Paul, a professor at the Conservatory of Music in
Leipsic, wrote in 1868, " Geschichte des Claviers." The learned
professor of music failed to do justice to the title of his book.
Entirely unacquainted with the practical art of piano making, he
assumes an authority which is amusing to the knowing reader.
Like Welckers, 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 painfully palpable, he even go-
ing so far as to imply that Christofori had copied Schroter's in-
vention, an effort which demonstrates Paul's ignorance of action
construction. However, the book contains sufficient good matter
to repay reading it. Published by A. H. Payne, Leipsic.
For the practical piano maker who reads German, the " Lehr-
buch des Pianof ortebaues, " by Julius Bliithner and Heinrich
Gretschel, published in 1872 and revised by Eobert Hannemann in
1909, Leipsic, Bernh. Friedr. Voigt, offers much valuable infor-
mation, treating with great care the construction of the piano and
the materials, tools and machinery used in the manufacturing of
the instrument. It also has a short essay on acoustics written by
Dr. Walter 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 much upon the achievements of the firm of Brinsmead
& Sons and loses all importance when compared to A. J. Hipkins'
" Description and History of the Pianoforte," published by No-
vello & Company, London, 1896. An earnest scholar and careful
writer, Hipkins successfully avoids the many pitfalls of the lexicog-
raphers and gives a clear and succinct description of the develop-
ment of the piano 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
Ouide," by Spillane, also William B. White's books, " Theory 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 AND THEIR MAKERS
for thought to the student
of acoustics, although Hehn-
holtz's origiually much-
lauded " Tone Wave 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
Siegfried Hansing in " Das
Pianoforte in seinen akus-
tischen Anlagen," New
York, 1888, revised edition,
Schwerin i./M., 1909.
Hansing- 's work is be-
yond question the most important, so far written, on the construc-
tion of the pianoforte. His studies in the realm of acoustics
disclose a most penetrating mind capable of exact logical rea-
soning. He bases his conclusions on exhaustive studies, without
regard to the accepted theories of earlier scientists. As a thor-
oughly practical piano maker and master of his art, Hansing"
studied cause and effect in its a])plication to the piano, and his
book is a rich mine of information for the prospective piano
designer and constructor. Free from any business affiliations, he
treats his subject with an impartial and unbiased keenness of
perception which is at once impressive and convincing.
Dr. Walter Niemann's " Das Klavierbuch," C. F. Kahnt
Nachfolger, Leiiisic, is an entertaining little book on the piano, its
1
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LITERATURE ON THE PIANOFORTE 427
music, composers and virtuosos, containing many illustrations of
rare and valuable pictures of noted artists playing the piano.
Henry Edward Krehbiel'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, Gr. 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 firm 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,
" Perlen aus der Instrumenten Sammlung," von Paul de Wit,
Morris Steinert at the ClaYiehord
428 PIANOS AND THEIR MAKEES
Leipsic, 1892. This album contain 16 illustrations printed in col-
ors, eacli plate a master work of the color-printer's art. For the
connoisseur, this album is a desirable and valuable addition to the
library.
Paul de Wit has devoted his life to advance the interests of the
piano industry. A sketch of his career is, therefore, only an
acknowledgment of his valuable services. Born at Maastricht,
Holland, on January 4, 1852, de Wit studied the cello under
Massart at the conservatory of Luettich and showed decided
talent. His parents objected to an artistic career and forced the
young man to conduct a wholesale wine business at Aachen. Since
the cello had a much more magnetic attraction for him than wine,
he did not make a success of the wine business, and sold his inter-
est in 1878. He went to Leipsic and became connected with the
music publisher, C. F. Kahnt, where he made the acquaintance of
Liszt, von Biilow, Carl Eiedel, 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
1886, and de Wit became sole proprietor of the publication, which
to-day ranks among the 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-
fied with his success as an editor and publisher, but set to work
collecting ancient instruments of all kinds. He started a work-
shop with Hermann Seyffarth, the well-known repairer of violins
and other musical instruments, in charge. Seyffarth rejuvenated
the battered relics which de Wit had discovered during his travels,
in storehouses, barns, garrets and cellars. De Wit virtually
searched 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 450 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 to 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
eONCLUSIONS
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 Germany.
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 oS 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 dynamical 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 PIANOS AND THEIR MAKERS
' ' These various schools can be traced most distinctly from their
beginning to the time when they reached- the point of highest de-
velopment and were superseded by another school. Italy reached
its height with Christofori in 1720, and has never since been a
factor. Germany took hold of Italy's heritage, and the German
school prospered from 1720 to about 1800, when England stepped
in, wrested the laurels from Germany and developed its mammoth
factories from 1800 to about 1860. France in the meantime (1803-
1855) became the successful rival of England because of more
artistic designs and refined tone qualities. After 1855, however,
both England and France were out-classed by America, which has
been able to maintain its supremacy ever since. Germany, hav-
ing more or less rested upon its laurels up to 1855, took the cue
from America and after 1860 out-rivaled England and France in
the production of pianos.
While no accurate statistics are obtainable, a reasonable esti-
mate of the number of pianos produced in the various countries,
baSed on careful computations made by manufacturers of piano
supplies, indicates the following annual production at the present
tiaie :
America 350,000
Germany 170,000
England 75,000
France 25,000
Austria and Switzerland 12,000
Russia 10,000
Netherlands and Scandinavia 4,000
Spain 2,500
Italy 1,500
Grand Total 650,000
CONCLUSIONS 435
The piano born in Italy required Teutonic force for develop-
ment, French taste for refinement, English matter-of-fact indus-
trialism and commercialism for better introduction and finally
American enterprise and wealth for general adoption as an indis-
pensable part of home furnishing. The history of the piano shows
that in its present-day finality it represents the activity of many
minds in the constructive, artistic, industrial and commercial
fields. The industry has now reached a point where 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 with 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
qualities 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 PIANOS AND THEIE MAKERS
soning of the financier, who never has an eye for anything else but
cold figures and algebraic reductions.
We find, therefore, that England, where commercial tactics
dominated when the piano appeared there, was the first of the
nations to manufacture them in large numbers. The English
knew how to sell and how to distribute them after they were made.
The astonishing growth in America came when the kings of mer-
chandising in the piano business became manufacturers and sup-
plemented the factory methods, started in England, with the
science of wholesale distribution. It must not be overlooked here
that the piano industry in all countries, with exception of England,
has always suffered as a whole from lack of sufficient working
capital. In Germany, France and America capital was never
attracted to the piano industry, simply because it lacked a solid
foundation and apparently had no , stability. 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 of all the leaders in this in-
dustry, from its beginning to the present 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
pick up whatever they acquired in knowledge in their spare hours,
and we must admire these men for their great accomplishments,
considering the conditions under which they worked. Even their
petty jealousies must be pardoned. 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 Chickering 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 commercial development.
Modern organization, to be successful in the piano 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 requirements. Indeed, the managers of
each of these departments must be adepts and experts in their
particular calling, and must be so situated that they can work out
their plans on the" basis which their coadjutors furnish from their
respective departments. 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-
em 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 pension 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,
438 PIANOS AND THEIR MAKERS
remain an art product; and, since we can form no conception as
to its further development, talented young men must be brought
into the field to continually inject that vigor and enterprise which
is indispensable to progress. Adequate compensation and assur-
ance of a competency for old age are the only means of attracting
ability and energy.
The piano industry should be as attractive as any to the young
man of to-day. All we lack is proper training schools, which may
easily be supplied by donations from the leading manufacturers
of each nation. Germany is making an effort in that direction,
and England, France and America ought not to delay the founda-
tion of such schools. The day of the apprentice has passed for-
ever. We know how to impart to a properly schooled young man
more knowledge of a craft in one year than he could acquire, under
the apprentice system, in five years. The university for the
physician and lawyer, the college for the farmer, must be suj3-
plemented by the college for the craftsman, so that he may per-
fect himself in his chosen profession after he leaves the manual
training school.
While for the past 100 years all the efforts of inventors and
piano constructors had but one aim — to augment the tone of the
piano — the labors of de Wit, Steinert and Dolmetsch in creating an
interest in the clavichords, furthermore the tenacity of the Vienna
and French schools in clinging to the more limpid though smaller
tone, are arousing the interest of piano constructors to seek for
more soulful, expressive tone quality, without, however, curtailing
the carrying capacity— a problem, no doubt, very difficult to solve,
but, 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 whicli a clear understanding of the past history, 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 Finns Manufacturing Pianos and Supplies at the Present
Time
APPENDIX
List of Firms Manufacturing Pianos and Supplies at the Present
Time
ITALY
PIANO MANUFACTURERS
Griffini & Co., E Established
Coppi, Pederieo
Rick, Giuseppe
Laehin, Nicolo
Berzioli, Fratelli
Agmonino, Giacinto
Berra, Ing. Cesare
Colombo, Federieo
Fea, Fratelli •
Fea, Giovanni
Forneris, Fratelli
Laeehio & Co
Migliano & Borello
Mola, Cav. Giuseppe
Olivotto, B
Perotti, Cav. Carlo
Quartero, Vittorio Felice
Roeseler Cav. Carlo
Savi & Co., Rod
.Milano
•Napoli
1830 Padua
1836 Parma
1850 Turin
1850 "
1900
1880
1862
1870
1905
GERMANY
PIANO MANUFACTURERS
Hilger, Eduard Established
Haegele, Heinrich
Gebauer, Jr., Gg. Dietr. .' "
Maass, W
Moller, Ernst
Dittmer, A "
Neupert, J. C
Ibach Sohn, Rud "
Lehmann, Arthur
SteingrSber & S6hne "
Andra & Co., Robert' "
Anghefer's Pianofabrik "
Bartel & Co., Ernst "
Barthol, R " 1871
Bechstein, C " 1853
Beer & Co "
Becker, Aloys "
Biese, W " 1851
Blasendorflf, Carl " 1898
BSger & Sohn, Wilh " I860
Aachen
1846 Aalen
1819 Alsfeld
1891 Altona
1819 "
— -— Anklam
1868 Bamberg
1794 Barmen
1898 "
1852 Bayreuth
Berlin
443
444 APPENDIX
Bogs & Voigt Establislied 1905 Berlin
Bonecke, Hermann " 1906
Borkenhagen, M " 1892
Brandes, Erich "
Compagnie Concordia " 1869
Dassel, Aug " 1859
Donadoni & Pohl " 1880
Dreyer & Co., Max " 1890
Duysen, I. L " 1860
Ecke, Carl " 1873
Emmer, Wilhelin "
Engelmann & Giinthermann " 1888
Euphonic " 1906
Excelsior Pianof abrik "
Fehn & Co., A " 1903
Felsehow, A " 1875
Frohlich & Kemmler " . '
Gawenda, Franz " 1888
Geil & Co., Friederieh " 1904
Giese, Reineke & Co " 1888
Gors & Kallmann " 1877
Goetze & Co " 1866
Grabau, M " 1880
Grand Nachf., A " . 1869
Gude, Moritz " 1886
Giinther, Otto "
Giinther, Robert " " 1880
Hahmann, Gustav " 1884
Haucke, Carl " 1890
Hanne, Paul " 1861
Hansen, H " 1871
Harmonie "
Hartmann, W " 1839
Hauschulz, Jul "
Heidrlch, Hei-mann " 1881
Heilbrunn Sohne, K " 1875
Heinke, Carl "
Hedke, Wilh " 1890 , .
Heindorff, A " 1892
Hepperle, Otto " 1872
Heyse, E. H " 1872
Hillgtirtner, Heinrich " 1901
Hllse, C "
Hilse Nachf., W " 1876
Hinke, Alfred " 1901
Hintze, Carl H '■
Hohne & Sell " 1885 ' ,' .' ,
Hoffmann Pianos "
Hooff & Co " 1873
Horn, Alfred " 1905
Janowsky, M " ;
Jaschinsky, A " 1880
Kewitsch, Johannes " 1878
Klimes, Schwitalla & Co " 1905
Klingmann & Co., G " 1869 !.!....
Knfiche], Ad " 1876
Koch & Co., Ernst. . .- " 1896 !!.....!!.
Krause, Conrad " 1868
Krause, Hermann " 1860
Krause & Dress " '
Krengel & Co., H " 1906 !!!!!!!!'!!!.!.!'!'.]'!'
APPENDIX
445
Kriebel, H Established 1863
Kuhla, Fritz " 1S72
Kuhl & Klatt "
Lammerhirt, Emil " 1880
Langfritz, L * " 1889
Lehmann & Co., Adolf " 1890
Laurinat & Co '■ 1879
Lenz, A " 1876
Liedcke, W " 1872
Linke, Godenschweger & Co " 1890
List, Ernst .-<r " 1888
Lubitz, H " 1875
Ludecke, JI "
Machalet, T " 1862
Manthey, Ferd " 1868
Marquardt & Co., Otto " 1905
Matz & Co., H " 1869
Menzel, Wilhelm " 1890
Meyer, Richard " 1881
Mo'bes & Co " 1869
Mors & Co., L " 1869
Mailer, Max " 1905
Nesener & Segert " 1903
Neufeind, R " 1888
Neumeyer, Ernst " 1905
Neufeld, L " 1872
Neugebauer Nachf., C " 1878
Neumeyer, Max " 1906
Neumeyer, Gebr " 1905
Nieber & Co., A " 1885
Noeske & Co " 1888
Oppermann, Albert "•
Otto, Carol " 1866
Paul & Co., Ernst " 1899
Paul & Co "
Pechmann & Co " —
Pfaffe, Julius " I860
Pfeiffer, J " 1880
Pianofabrik A. Luddemann "
^Pianofortefabrik " Euterpe " " 1886
Ottomar Fiedler "
" Opera " "
W. Hofifmann " 1888
Plciseh & Co "
Poschel, A "
Quandt, C. J " 1854
Boesener, F " 1839
Schiemann & Madsen " 1870
Schiller, J " 1884
Schleip, Benedictus " 1816
Schmeckel & Co "
Schmidt, L " 1865
Schmidt, Rudolf " 1887
Schmidt & John "
Schonlein, Ernst " 1895
Schotz & Co., Heinrich " 1907.
Schiibbe & Co " 1894
Schulz, W " 1862
Schiitze, Heinrich " 1877
Schutze & Schmidt "
.Berlin
446
APPENDIX
Schvvechten, G Established
Seidel Nachf ., Rob
Siewert, C
Sldbbe, Max
Sommer. Mathias "
Steuer, Wilhelm
Steinberg & Co
Stoessel, Gertler & Co
Tempe, Reinhold
Tietze, R
Ulbrich, R
Vierling, Rudolph "
Vieritz & Werner "
Wahren, Carl
Weber, F
Werner, Ed '"'
Westermayer, Ed "
Westphal, Robert "
Wittenburg & Hermann "
Wittig, Ernst
Wohler Nachf., Adolf
Zahn, F. H
:\[ann & Co., Th
Grotrian, Steinweg Nachf "
Weehsung, G
Zeitter & Winkelmann "
Palven, Jr., P
Berndt, Traugott "
Hiittner, Alfred "
Welzel, P. F
Hauok, J. B
Lipczinski, Max "
Arnold, Karl
Werner, F. W
Beyer-Rahnefeld, Otto
Gerold, F
Goetze, Franz "
Hagspiel &, Comp "
Hoffmann & Ktlhne "
Kuhse, Johann "
Kulb, Jos
Mannsfeldt & Notni "
Miiller, Clemens H "
Ronisch, Carl "
Rosenkranz, Ernst "
Ullrich, H
Urbas, Johann "
Urbas & Reisshauer "
Vogel, F. E
Wolfframm, H
Werner, Paul "
Zimmermann, Gebr "
Erbe, J
Finger, Alb
Geyer Nachf., Adolph "
Kluge & Treydel
Vogel, Robert "
Weber & Fuchs
Weissbrod, R "
Winkelmann & Co
Tetsch & May "
1853 Berlin
1905
1885 Bernburg
1836 Bielefeld
1835 Braunschweig
1857
1837
1901 Bremen
1837 Breslau
1896
1835
1865 Bruchsal
1890 Danzig
1830 Darmstadt
1845 Dobeln
1852 Dresden
1875
1874
1851
1899
1874
1873
1867
1877
1845
1797 ...:...:;
1876
1894
1894
1845
1872
1810
1904 Leipzig Molkau
1881 Eisenach
1887 Eisenberg
1877
1905
1884
1908
1867 TEmmerich a. Ehein
APPENDIX
447
Hansen, Julius Established
Philipp, G
Andre, C. A "
Balduiv Pianofortefabrik "
Philipps & Sohne, J. D "
Welte & SShne, M
Gluck, Carl '
Spaethe, Wilh
Maetzke, Eduard "
Steck Piano Co
Ritmuller & Sohn, W
Ritter, C. Rich
Behnl^en, Gebr. N. & E. H
Busehmann, Gustav Adolf "
Kohl, H
Neumann, F. L "
Raehals & Co., M. F
Schnell, H
Steinway & Sons . . . '. ', . "
Stapel, G
Gertz, Wilh
Haake. Karl
Helmholz, Fr
Rissmann, C. C "
Glass & Co., C. F
Nagel, G. L
Uebel & Lechleiter "
Sprunck, Fr "
Glaser, F
Weidig, C
Neuhaus Sohne, W "
Beckmann, W "
Scheel, Carl
Giinther & Sohne
Kaim & Sohn
Arnold, Heinrich
Rowold & Sohne, Ernst "
Mand, C
Prein, Friedr '. .
Gebauhr, C.J "
Sehusterius, C. A "
Stockfiseh, H
Adam, F
Hain, Stephan "
Bluthner, Julius "
Feurich, Julius "
Fiedler, Gustav "
Forster & Co "
Francke & Co., A. H
Irmler, I. G
Kreutzbach, Julius "
Sehimmel & Co., Willi "
Schumann, Carl "
Stichel, F
Zierold, Gustav "
Freytag, Andreas "
Geister & Schwabe "
Gerstenberger, J "
Liehr, Franz "
Neumann, Carl "
Patzold, Gottl
18.38 Flensburg
1872 Forst
1828 Frankfurt u. M.
1872
1877
1833 Freiburg i. Br.
1843 Friedberg
1859 Gera
1862 GOrlitz
1857 Gotha
1795 Goettingen
1828 Halle a. S.
1873 Hamburg
1805
1855
1854
1832
1872
1880
1848 • "
1873 Hanover
1836
1851
1840
1879 Heilbronn
1828
1871
1839 Hettstedt
Jena
1843 "
1840 Kalkar
1806 Kassel
1846 "
1819 Kirehheim, u. Teck
1819
1830 Klein-Umstadt
1793 Kleve a. Rhein
1832 '..Koblenz
1857 Koln
1834 Koenigsberg
1869
Kottbus
1864 Krefeld
1892
1853 Leipzig
1851 :
1871
1840
1805
1818
1874 "
1885
1857 "
1877 "
1882 , "
1889 Liegnitz
1871 '••
1864
1871
1897
448
APPENDIX
Schneider, Albin Established
Schuppe & Neumann "
Seller, Eduard "
Sponnagel; Eduard "
Forster, August "
Crasselt & Rahse "
Niendorf, Gebr "
Pabst & Schneider
Scharf & Hauk
Thiirmer, Ferd "
Brlnkmann, Emllie "
Selle, Gebr
Berdux, V "
Mayer & Co., J
Knake, Gebriider "
Samson & Bennemann "
Boekh, Hermann "
Hegeler & Ehlers "
Rohlfing, Gebr
Vogel & Sohn-.
Courtois, Hermann "
Weidlg, Georg "
Bock & Hinrlchsen "
Deesz, Julius "
Hermann, Alexander "
Held, H
Soph & Sohn, F
Perzina, Gebr "
Sauter, C
Hoof, Ludwig "
Siegel, E
Wolkenhauer, G "
Lindner Sohn, I. P "
Prestel, Anton "
Lochow & Zimmermann "
Ackermann, F. J "
Dorner & Sohn, F
Elias, G
Oschwind, I. G "
Hardt, Carl
Krauss, E
Krumm, Jacob '
Lipp & Sohn, Rich. '•
Madler, G
Matthaes, Theodor "
Oehler, C
Pfeiffer, Carl A
Sauer & Sohn, I. P
Schiedmayer Pianofabrik "
Schiedmayer & Soehne "
Schilling. Fr. . ,
Wagner, Herm "
Eigelbaum & Hoffmann "
vSimon, L "
Imhof & Muckle "
Tvetnath, Friedrieh "
Romhildt Pianofortef abrik "
Adam, Gerhard "
Biehl, Joh. Heinr
Miiller-Schiedmayer, Erwin "
Pfister, N
1907 Liegnitz
1897
1849
1866 ' "
1859 Lobau
1881 "
1897 Luckenwalde
1905
1870 Mannheim
1834 Meissen
1879 Minden, Westfalen
1828 Muhlhausen, Thuringen
1871 Munehen
182ff
1808 Miinster
1866 Nordlingen
1895 Oldenburg
1790 Osnabriiek
1828 Plauen
• Prenzlau
1890 Regensburg
1869 .Rendsburg
1820 Saarbrucken
1835 Sangerhausen
1867 Schleswig
1902 Schmolln
1871 Schwerin i. M.
1846 .Spaichingen
1882 Sprottau
1849 Stade
1853 Stettin
1825 Stralsund
1820 Strassburg
1900 Strausberg
1882 Stuttgart
1830
1875
1858
1855
1870
1900
1831
1857
1888
1857
1862
1863
1853
1809
1871
1844
1907 Torgau
1880 Ulm
1848 Vohrenbaoh, Baden
1836 Weiden
1845 Weimar
1828 Wesel
1868 Wittgendorf
1874 W^urzburg
1800 "
APPENDIX 449
Fahr, Albert Established 1887 ■.•...... .Zeitz
Geissler, F " 1878 ■ "
Gerbstadt, Oscar ■' 1888 '. ; "
Hoelling & Spangenberg, C " "
Hupfer & Co " 1874 .. "
Krietzsch, Hermann " 1847 "
Morenz, Brvino " 1891 "
Schemelli & Co., R " 1900 "
Schmidt & Sohn Nachf., P " 1876 "
Donath, Max " 1882 Zittaii
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
Bphn & Co., C Keys 1871
Berliner Gussstahl Fabrik Iron Frames
Beyer, A Hammers
Buchholtz, Heinrich '. . . Keys 1866
Eggersdorfer Filz Fabrik Felts ■
Wolff & 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
Laurisch, Ferdinand Hammers
Leonhardt, M " 1896
Leonhardt, Max Keys
Leonhardt, Richard Hammers
Leuschner, Carl " . .■ 1880
Lexow, Ad Actions 1854
Loepke, W Hammers
Walter, Adolf Keys
Wehrmeier, Franz Hammers 1876
Weisner, Gustav Actions 1880
Dittersdorfer Fils Fabrik Felts 1881 Dittersdorf
Kutter, Alfred W Keys Dresden
Kutter, E. G. Robert " "
Patzak, Adalbert Hammers "
Syhre, Edmund " 1879 "
Dornheim & Sohn, F. W Keys 1874 Eichfeldt
Sehlessiger, Herm Soundboards 1853 Gera
Eicken &, Co Wire Hagen
Merckel, Wilh .' . Hammers 1845 Hamburg
Weidner, W Keys . ; "
Boecker, Heinr. Wilh Wire. .". Hohenlimburg
Bongardt & Co., Gebr " 1832
Weber & Giese "
450 APPENDIX
Kissing & Mollmann ; . Soundboards Iserlohn
Kysse & Co., Oscar Keys 1905 Langenberg b. Gera
Beier, Adolf Hammers 1894 Leipzig
Dethleffs & Co Keys 1874
Driver & Toepfer Actions 1882
Fleming, H. F " 1874 "
Matkowitz, Carl Hammers 1906 "
Morgenstern & Kotrade Actions 1846 "
Polenz & Lange Hammers 1899 . "
Thieme, Carl Soundboards 1843 "
Trankner, Hugo Keys 1843 "
Weickert, I. D Felts 1847
Gustav Meurer " 1878 Liebenzell
Jentzseh & Co Keys and Actions 1882 Liegnitz
Stammitz, Hermann Keys 1894 "
Thelocke & Kluge " 1859
Seherdel, Siegmund Wire 1889 Markt Redwitz
Julius Klinke Pins 1847 Neuenrade
Schurmann & Hillecke " 1879
Beck, Georg Job Wire 1642 Niirnberg
Fuehs, Job. Wolfg " 1787
Poehlmann, Moritz " 1850 •'
Marthaus, Ambrosius Felts 1834 Oschatz
Kaiser, J Pins 1864 Plettenberg
Schulte, D. W " 1840
Wagner, jun., W " ■
Zimmermann, Paul Keys 1898 Radis
Stahl & Drahtwirk Roeslau Wire 1832 Roeslau
Sempert, Carl Keys ■ — — Rudolstadt
Bosch, Franz Hammers 1872 Stuttgart
Dascliler, Friederich "
Fritz & Mayer Actions 1857
Kanhauser, G. & E Hammers 1844
Keller & Co., J Actions 1857
Koch & Co Keys 1879
Pape, Paul " 1877
Renner, Louis Hammers and Actions . . 1882
Sehauffele Wwe, Gg Keys 1846
Schauifele, Wilhelm " 1882
Worner, G. F Hammers 1865
Dunker, J. W Pins 1847 Werdohl
Giese, I. H. Rud Wire 1883 Westig
Grunert, Emil Keys Zeitz
Kummer, Adolf Actions and Hammers . . 1890 "
Tischendorf, Franz Keys 1888 "
Tischendorf, Karl " "
Zugehor, Oscar Hammers "
ENGLAND
PIANO MANUFACTURERS
Ajello & Sons, G Established 1863 London
Albion Pianoforte Co " 1871 "
Allen & Gaunter " 1894 "
Allison & Co., Arthur " 1840 "
Allison & Sons, Ralph " "
Ambridge & Son, Henry " 1890 "
Arnall & Co., H. B " ' " ' «
APPENDIX 451
Arnold & Co., J Established 1880 London
Bansall & Sons " 1883
Barnett & Sons, Samuel " 1832
Barber & Co " 1892
Barratt & Robinson " 1877
Beadle & Langbein "
Beckhardt & Sons " .......................
Berry, Nathaniel " 1866
Bishop & Co., Joseph " 1877
Brasted, H. F. & E,. A "
Brinsmead & Sons, John " 1836
Brinsmead, E. G. S "
British Piano Manufacturing Co. ... "
Broadwood & Son, John " 1723
Brock, Bernard ". " ' "• 1890
Brock & Vincent " 1897
Browne, Justin "
Buf ling & Mansfield "
Byers, Walter Charles " 1890
Carleton Piano Works "
Challen & Son " 1804 '.
Challenger & Co., George "
Chappell & Co " 1812
Child, E " ■
Cohen & Co., Philip " 1893
Collard & Collard " 1760
Cons & Cons " 1884
Cramer & Co., J. B " 1824
Danemann & Co., W "
Dodson, William " 1867
Dunno, Ellis & Hill "
Dunckley, William " 1865
Eavestaff & Sons " 1823
Edwards & Searle "
Ellis, John " 1888
Empire Piano Co " 1892
Eungblut, C. & J "
Feord, Garrett "
Fitzsirnmons, Robert " 1879
Fleming & Barker "
Forrester, J "
Fox, T. G "
Gautier, Jules " 1866 •
Gilbert, Thomas, John " 1880
Grantone Piano Co "
Green & Savage " 1^76
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 "
Healy & Richards " 1889
Hickey & Co., T. J " 1901
Hicks & Son, Henry " 1845
Hillier Piano & Organ Co " 1855
Hopkinson, J. & J " 1835
Hulbert & Jones " 1883
452 APPENDIX
Humphreys, A. & E Established 1883 London
Imperial Organ & Piano Co "
James & Son, Henry '• 1878
Jarrett & Goudge " 1871
Jenn Bros " 1874
Keith, Prowse & Co " 1802
Kelly & Co " 1824
King Bros ''
Knapton & Co " 1896
Lambert, F. B " 1881
Lawrence & Co "
Little, Charles Edwin " 1878
Livingstone & Cook " 1897
Lyon, Louis George " 1875
MeRill & Sons "
McVay Piano Mfg. Co "
Merrington Bros "
Monington & Weston "
Moore & Moore "
Munt Bros "
Murdoch, John G "
Murray & Co '■
Payne,"^ T. & G " 1892
Pinnell & Co., E.J "
Pugh & Son, Joseph "
Pull & Field " •
Pyrke, C. H " 1895
Rayner, S ''
Reed & Sons; J. W " 1868
Reeve & Co., W " 1881
Regester & Sons "
Rintoul & Sons, John " 1858
Robertson & Co ' "
Rogers & Sons ' 1843
Rudd & Co., A " 1837
Russell & Co., Geo " 1842
Samson Piano Works "
Sandon & Steedmann "
Seager Bros " 1897
Shenstone & Son "
Shipmann & Shipmann '. . . . '"' 1877
Smith, Andrew "
Snell, Harry "
Southam, Cooper "
Spencer & Co., John " 1883
Spiller, Boult & Co "
Squire, Jr., William " 1881
Squire & Son, B " 1829
Strohmenger & Son, J " 1835
Strong & Sons, John " 1851
Tavlor & Co., A " 1890
Taylor & Co., C. R "
Tucker & Co "
Wallis & Son, Joseph " 1848
Watkins, T. & G "
West Green Piano Works "
White, Broadwood & Co " 1879
White, T " 1895
Whiteley, William "
Willcocks & Co " 1906
Witton, Witton & Co " 1838
APPENDIX
453
Wonder Pianoforte Co Established
Woods & Co., R. J
Wriglit, W. A
Zender & Co
Pohlmann & Sons, F
Hartley & Sons, Stephen
Shore, F
London
1879
ft
1832 Halifax
1857
PIANO SUPPLY MANUFACTURER':
Webster & Horsfall Wire Birmingham
Brooks, Limited Keys and Actions 1810 London
Cassini, W. H Hammers 1878
Clark, R. W Keys 1871
Clark, John H., & Co Iron Frames 1734
Deigliton, A Keys 1881
Finnimore Bros " 1880
Gibbs, B. A " 1895
Goddard, J. & J Felts and Hardware 1842
Homan & Sons Strings 1853
Kilvert, J. Smith Hammers 1860
Marshall, William, & Son Materials 1841
Nott & Co Actions 1862
Paine & Sons, Thos Keys 1865
Sebright, T " 1852
Shenstone & Co " 1870
Vestey, R. F., & Son " 1860
Wallis & Son Materials 1848
Whitehead, R. R., & Bros Felts
Houghton, W. A \\ ire .
Naish Felts .
. Warrington
.1859 Wilton
FRANCE
PIANO MANUFACTURERS
Aurand & Bohl
Baruth, Francois Claude
Boudon, B
Manufacture Marseillaise de Pianos.
Klein, Gaston
Klein, Henri
Manufacture des Pianos Grillot. . . .
Staub, J
Vuillemin-Didion
Rodolphe Fils & Debain rfiunies . . . .
Benard, Champ & Cie
Blondel, Alphonse
Bord, A
Bueher (Gauss FrSres & Cie. Succrs.)
Burgasser & Cie
Carpentier. J
Coequet Fils, Leon
Erard (Blondel & Cie. Succrs.)....
Fockg Fr6res
Established 1830 Lyon
1827 Marseilles
" Montreuil sous Bois
1879
" 1848 Nancy
1846 Nantes
" Nogent sur Seine
" 1849 Paris
1839 "
1840 "
1848 "
1846 .. "
1865 "
1779 "
1860 "
454 APPENDIX
Frantz, J. B. (Mussard & Cie. Sucors. ) Established 1852 Paris
Gaveau, I. G " 1847
Gouttiere, Ed " 1846
Guillot, A "
Herz, Henri " 1825 . . . . :
Herz, Neveu & Cie " 1863
Kriegelstein & Cie " 1831
Leguerinais FrSres " 1856
Leveque & Thersen " ■
Mustel & Cie " 1855
Ourj', Alphonse ~ . . . "
Plej'el, Lyon & Cie " 1807
Pruvost, Henri " 1850
Pruvost Fils, E. Victor "
Rucli, J "
Schmitt, Francois "
Sehotte Fr6res " 1850
Laplanche-Deforge, C " 1796 Reims
PIANO SUPPLY MANUFACTURERS
Societe Anonyme Wire Montbiliard
Gilbert Actions Montreuil sons Bois
Sommer Felt Mouzon
Voos, J. J " "
Brees & Cie Actions Paris
Brou, Edouard Felt
Delorme, F Keys
Deloye, Maurice " 1850
De Rohden, C Actions
Fortin, EugSne Felt
Gehrling & Cie Actions 1842
Grillet, P6re & Fils Keys
Herrburger, J., Maison Schwander. . Actions and Keys 1844
Kneip, Louis Hammers 1850
Lange, Julien Keys
Levet, A ' Hammers 1869
Martin, L Actions and Hammers . . 1^95
Muller, E Keys 1835
Society Anonyme de Feutres f rancais . Felts
Truchot Hammers 1848
Union Actions and Keys
Rolle, Neveu & Succrs., E Felts St. Denis
SPAIN
PIANO MANUFACTURERS
Canto, J Established — — Barcelona
Charrier y Cia " 1875 "
Chassaigne Fr6res " 1864 "
Estela, Vinda de Pedro " 1830 "
Estela y Compa., B " "
Guarro Hermanos " I860 "
Izabal, Louis " I860 "
Izabal, Paul " "
Prin, Mallard y Cia " "
APPENDIX
Ribalta, Salvador Established
Soeiedad Franco-Hispano- Americana . " 1898
Vidal, J " 1879
Montano, hijos de. ,
Piazza, Mauricio . . . .
Ten y Cia., Rodrigo.
455
. Barcelona
1838 ...Madrid
Sevilla
1902 Valencia
PIANO SUPPLY MANUFACTURERS
Raynard, L Actions and Keys .... 1897 Barcelona
BELGIUM
PIANO MANUFACTURERS
Hainaut. Fr&res Established 1840
Berden & Cie., Francois "
Bernard & Cie., A "
Giinther, J "
Hanlet, A
Mahillon & Cie
Oor, J
Oor, Lueien "
Pley & Dahout
Boone Fils "
Gevaert, V "
Van Hyfte, B
Van Hyfte Fr6res
Vits, Emile
Renson Frferes "
Derdeyn Fr6res "
. Binche
1815
1898
1845
1866
(f
tc
1850
ii
1907
f(
C(
1839
aPTif.
1846
1835
a
1839
(t
1838
((
1857
. . . Liittich
1846
Roulers
NETHERLANDS
PIANO MANUFACTURERS
Allgiiuer & Zoon, J. J Established 1830 Amsterdam
Cuijpers, J. F.
Rijken & Co., Ch. F
Mes, Antoine A. A. Az
Rijken & de Lange, Gebrs.
Bocage, Ch
Leijser & Zoon, N. S
1832 Gravenhage
1874 Middelburg
1852 Rotterdam
Schiedam
1854 Zutfen
Schmidt, A
Burger & Jacobi
Pianofabrik Symphonia.
Bieger & Co., J
Ganter & Sohn, J
Hiini & Co
Rordorf & Co
Suter, H.
SWITZERLAND
PIANO MANUFACTURERS
. Established 1830 Bern
1872 Biel
1842 Rorschach
Zurich
1860 "
1847 "
1875 "
456
APPENDIX
SCANDINAVIA
PIANO MANUFACTURERS
Denmark
Ehlert, J. H Established 1867 . . .
Felumb, Emil
Geisler, A. H
Heidemann, H. P
Hindsberg, H. T. P
Hornung & MoUer
Jensen, Soren
Kofod & Co
Landschultz, C
Larsen & Son, J
Lendorf, Oscar
Mentzler, W
Petersen & Son, Harm. N.
Schon, T. C
Wedell & Aberg, C
Sweden
A. G. Kalins Piano Fabrik.
Pianofabriken Standard
Ostlind & Almquist
Billbergs Piano-Fabrik
Lofmark, J
Malmsji), J. G
Hagdahl, J
Nystroms, J. P
Hansson, D
Ekstrom & Compis
Lofmark & Hagland
Gustafson & Ljunquist
Bergquist & Nilsson
Engstrom & Johanesson ....
Franckel & Co., F
Hoffmann, Aug
Lof berg & Co
Norbergs Pianofabrik
Pettersson, John
Rapp, E
Svahnqiiist, jun., C
Winkrantz, Fr
Norway
Knudsen, Jacob.
Hals, Brodrene . ,
1872
1876
1853
1827
1893
1865
1855
1854
1881
. Kopenhagen
1885 Amal
1904 Arvika
1888 "
1868 Goteborg
1903
1843
.Karlskrona
1865 Karlstad
1854 Lund
1836 Malmo
1899 "
Norrkoping
Stockholm
1889
1899
1896 Bergen
1847 Christiania
RUSSIA
PIANO MANUFACTURERS
Hellas, Osakeytio , Established 1901 Helsingfors
Apollo " 1899 Kalisch
Betting, Theodor " 1887
Fibiger, Arnold " 1878 "
Strobl, August " Kiew
APPENDIX
457
Koretzky, F. J Established 1887
Uslall & Co., A..
Rauseh, JI "
Schoen, Ad
Johannsohn, Th "
Tresselt, J
Weinberg, J "
Becker, J
Diederielis, Gebr "
Hergens & Tonnoff "
Leppenberg, G "
Mayr, Hermann "
Muhlbach, F
Offenbacher "
Rathke, R
Reinhard, W "
Ronisch, Carl "
Schlesinger, S. L "
Schmidt, P
Schroeder, CM
Smidt & Wegener
Stein, J. J "
Erikson, M "
Kehrer, Hermann "
Kopp, Anton "
Angerhofer, F "
Dutz, Anton "
Kerntopf & Sohn
Malicki, Julian "
Nowicki, F. J
Moskau
1878 -
]856
OHpRsa.
1843 "
1855 .
Riffa
• a
1841
1810
St. Petersburg
a tt
it it
1888
1870
it ic
it ti
tt tt
1900
1868
1874
it tt
it (t
1898
a ft
it it
1880
ii it
1818 "
1880
tt (t
■ Rarflt-Ow
1872
Tiflis
1887
ft
1873
ft
it
a
<(
AUSTRIA
PIANO aiANUFACTURER
Albert & Co., E. A. . . .
Rosier, G
Protze & Co., Josef. . .
Petrof, Anton
Warbinek, Rudolf A. . .
Baroitius, Karl J
Kopecky & Co
Novak, V
Schnabel, Ludwig
Koch & Korselt
Proksch, A
Spira's Wwe., Carl . . .
Bremitz, Enrico
Magrini e Figlio, L. . .
Audreys, Anton
Baumann, Max
Belehradek, Johann. . .
Baumbach, Josef
Berger, Ignaz
Bosendorfer, Ludwig. .
Czapka's Sohn, Jacob.
DSrr, Karl
Diirsam, Wilhelm
Ehrbar, Friedrich
.Established 1868 Aussig
1878 B. Leipa
1905 Georgswalde
" 1864 Koniggratz
1906 Laibach
1898 Prag
1901
1891 Reiehenberg
1864
1892
1874 Triest
1870 "
Wien
1870
1842
1828
1842
1817
1801
458
APPENDIX
Fritz, Sohn, J Established 1805
Fuchs, jun., Franz "
Gossl, Josef & Adolf
Habler, Job
Hamburger, Carl "
Heitzmaniii Otto "
Hnatay, Josef "
Hofbauer, Gustav "
Hofmann, Friedrieh "
Hofmann, Karl "
Holze & Heitzmann "
Horr, Moritz "
Jirasek, Ferdinand "
Karbach, Friedrieh "
Klubal, Gottlieb
Kraiis, Adolf "
Kubik, Josef "
Lauberger & Gloss "
Littmann, Johann "
" Lyra "
Maliwanek, Heinrich "
Mayer, Eduard "
Mayer, Wilhelra "
Mayr, Franz "
Nemetschke, Johann "
Neuburger, Adolf "
Neumayer, Carl "
Oeser, Franz "
Oeser & Sohn, Vincent "
Pallik & Stiasny "
Parttart's Eidam, Alois "
Pawleck, jun., Josef "
Pokorny, A "
Keinhold, Robert F
Hichter, Franz "
Schaube, Wilh
Schmid, Heinrich "
Schmid & Kunz, F
Schneider & Neffe, Josef "
Schweighofer's Sohne "
Skop, Josef "
Stary, Johann "
Stelzhammer, Anton "
Stenzel & Schlemmer "
Stingl, Gebriider "
Wasniczek, Ignaz "
Windhofer Wwe. Rudolf
Wirth, Franz "
Wolek, Franz "
Zebrakowsky, Johann; "
Chmel & Son "
Dehmal, Kftroly "
Eder, Anton Julius "
Havliesek, Carl
Heckenast, Gustav "
Wien
a
1854
it
1874
t(
1839 "
a
1850
a
1876
tt
1868 - "
it
tt
1856
a
it
1898
"
1900
Si
1869
1885
a
a
ct
.,
,!
"
1890 ,
ti
tt
((
"
it
1868
tt
1894
tt
rf
1890
a
it
1870
((
'■';
1880
a
1839
1792
it
tc
1892
ti
1848
1898
ii
1887
tt
''
„
1880
tt
1878
it
'<:
1835
1888
1846
1895 .'
tt
1865
ct
PIANO SUPPLY MANUFACTURERS'
Gaiser, Emil Hammers .
Karl, Jos Keys
.1871 Wien
, 1894 "
APPENDIX 459
Kuda, Eberhard Hammers 1891 Wien
Llttmann, jun., Paul Keys 1887
Miller's Sohn, Martin Wire 1782
Mraz, Franz Keys 1881
Olbert, Franz
Opletat, Alois
Pichler, Johann
Prohaska, Franz
Schmidtmayr, Kaymund
JAPAN
PIANO MANUFACTURERS
Nippon Gakki Siezo Kabushiki Kwaisha Hammamatsii
Nishikawa & Son Yokohama
UNITED STATES
PIANO IIANUFACTURERS
California
Pacific Piano Mfg. Co Established Pasadena
Salyer-Baumeister Co " 1907 Los Angeles
Behre, J., & Co " San Francisco
Deitemeier Piano Co " 1892 •'
Fay, Robert . " 1880 "
Hornung, C. C " 1880 ■'
Mauzy, Byron " 1884 " "
Connecticut
Sterling Co., The Established 1866 Derby
Huntington Piano Co " 1894 Shelton
Wilcox & White Co., The " 1877 Meriden
Mathushek Piano Co " 1866 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 " 1903
Chickering Bros " 1892
Clark, Melville, Piano Co " 1900
Conover Piano Co " 1890
Concord Co., The " 1907
Decker Bros. Co '' 1907
Detmer, Henry " 1885
Foley & Williams Mfg. Co " 1870
Fuehr & Stemmer Piano Co " 1903
Kaiser, Adolph " 1891
Kimball, W. W., Co " 1854
460
APPENDIX
King Piano Co Established 1903
Lyon & Healy "
Marquette Piano Co "
Maynard, R. K., Piano Co
Meyer, Franz "
Nelson, H. P., Co
Newmann Bros. Co "
Price & Teeple Piano Co
Eeed & Sons Piano Co "
Reichardt Piano Co "
Rothschild & Co
Sohaaf, Adam "
Schaeflfer Piano Co "
Scherpe, B., & Co "
Schulz, M., Co
Seeburg, J. P., Piano Co "
Singer Piano Co "
Smith, Barnes & Strohber Piano Co, "
Starck, P. A., Piano Co
Steger & Sons Piano Mfg. Co "
Story & Clark Piano Co
Straube Piano Co "
Weber & Sons "
Werner Piano Co "
Hamilton Piano Co "
Seybold Piano & Organ Co "
Swan, S. N., Co
Pizarro Piano Co "
Schiller Piano Co "
National Player Piano Co "
Standard Piano Player Co "
Johnson, E. P., Piano Co "
Western Cottage Piano & Organ Co. "
Haddorff Piano Co
Nysewander Piano Co "
Schumann Piano Co "
1864
1905
1905
1893
1908
1880
1902
1842
1873
1873
1869
1907
1894
1884
1879
18C9
1878
. Chicago
1902
1889 Chicago Heights
■ Elgin
1907 Freeport
1908 Joliet
1893 Oregon
1907 Ottawa
1865 "
1902 ' Rockford
IjS'DIANA
Knight-Brinkerhoff Piano Co Established 1907 Brazil
Auto Grand Piano Co.
Packard Co., The
Schail Bros. Piano Co.
Cable, Hobart M., Co.
Ivrell-French Piano Co.
Chute & Butler
Starr Piano Co
Tryber Piano Co
1905 Connersville
1871 Fort Wayne
1866 Huntington
1900 Laporte
1898 New Castle
1901 Peru
1872 Richmond
1881 South Bend
Iowa
Bellevue Piano Mfg. Co Established 1906 Bellevue
Kentucky
Harvard Piano Co Established 1885 Dayton
iIAI^-E
Hughes & Son Piano Mfg. Co Established 1866 Foxcroft
Maryland
Wm. Knabe & Co Established 1839 Baltimore
Chas. M. Stieff " 1842
Massachusetts
Bourne, Wm., & Son Established 1846 Boston
Chickering & Sons " 1823 "
APPENDIX
461
Choralcelo Mfg. Co Established
Emerson Piano Co " 1849
Everett Piano Co " 1883
Hallet & Davis Piano Co " 1835
Hiime Piano Co " 1902
Ivers & Pond Piano Co '• 1880
Jewett Piano Co " 1899
Kraft, Theo. J., & Co " 1903
Mason & Hamlin Co " I854
McPhail, A. M., Piano Co " 1837
Miller, Henry F., & Sons Piano Co.. . " 1863
National Piano Co " 1911
Poole Piano Co " 1893
Vose & Sons Piano Co " 1851
Ackotist Player Piano Co " 1906
Cote Piano Mfg. Co " 1890
Gilbert Piano Co " 1907
Morrisette, Honors, Co "
Trowbridge Piano Co "
Webster Piano Co "
.Boston
.Fall River
1888 Franklin
Leominster
Michigan
Grinnell Bros Established 1882
Farrand Co., The
Broekmeier Piano Co "
Manville & Sons "
Bush & Lane Piano Co "
Chase-Hackley Piano Co
Germain Piano Co
Melin- Winkle Co
.Detroit
1884
1908 Grand Rapids
1901 Holland
1863 Muskegon
1895 Sasinaw
1909 South Haven
Minnesota
Sehimmel & Co Established 1892 Faribault
Raudenbush, S. W., Co " 1883 St. Paul
Segerstrom Piano Mfg. Co " 1900 Minneapolis
Wick, P. 8., Co " 1886 North St. Paul
New Hampshike
Prescott Piano Co
. Established 1869 Concord
New Jebsey _'
Delabar, Edw Established Newark
Lauter Co., The " 1862 .\ . " '
Winkler Piano Co...-. " 1875 Trenton
Alleger, H. W " 1869 Washington
Cornish Piano Co " 1876
Florey Bros " 1909
New York
Boardman & Gray
Wegmann Piano Co
Brockport Piano Co .,.,.
Smith, Freeborn G • ■
Wissner, O • ■ ■
Chase & Baker Co
Kurtzmann, C, & Co
Ahlstrom Piano Co
Aeolian Co. , The
Aeolian- Weber Piano & Pianola Co..
American Piano Co
Amphion Co
Archer Piano Co
Autopiano Co., The
Established 1837 • • .Albany
" 1882 Auburn
" 1893 .Brockport
" 1848 Brooklyn
1878 :....
'' 1900 Buffalo
1848 "
" 1875 Jamestovpn
" 1887 New York
1903 '. . "
1909 "
" 1901 "
1906 "
1903 "
462
APPENDIX
Bacon Piano Co Established 1789
Bailey Piano Mfg. Co " 1901
Baumeister, H " 1894
Bayer Piano Co " 1906
Becker Bros " 1902
Behning Piano Co " 1861
Behr Bros. & Co " 1881
Berry- Wood Piano Player Co "
Biddle Piano Co " 1861
Bjur Bros " 1887
Boedicker's Sons, J. D "
Bogart, Edwin B., & Co " 1899
Bogart, W. F "
Bollerman & Son "
Brambach, Carl, & Son "
Braumuller Piano Co "
Brunner & Co., C. A "
Byrne, C. E., Piano Co
Cable & Sons
Chilton Piano Co "
Christman Sons "
Collins & Kindler " 1910
Connor, F " 1877
Davenport & Treaey Piano Co " 1896
Decker & Sons " 1856
De Rivas & Harris " 1905
Dobson, E. S., & Co "
Doll, Jacob, & Sons " 1871
Dusinberre & Co " 1884
Estey Piano Co ' " 1885
Fischer, J* & C " 1845
Frederick Piano Co "
Furlong, A. B., Piano Co " 1910
Gabler, Ernest, & Bro " 1854
Greve, G. B " 1896
Hardman, Peck & Co " 1842
Haines, W. P., & Co '• 1898
Harrington, E. G., & Co " 1886
Hasbrouck Piano Co " 1886
Hazelton Bros " 1840
Homer Piano Co " 1907
Howard, R. S., Co " 1902
Jacob Bros " 1878
James & Holmstrom " 1874
Janssen, B. H " 1901
Keller, Henry, & Sons " 1892
Kelso, S. R "
Kelso & Co " 1891
Kindler & Collins " 1910
Kirchhoff , Lawrence " 1901
Kohler & Campbell " 1894
Krakauer Bros " 1869
Kranich & Bach " 1864
Kroeger Piano Co " 1852
Laffargue Co., The " 1896
Lawson & Co " 1906
Leckerling Piano Co " 1886
Leins, E., Piano Co " 1889
Lindeman, Henry & S. G " 1836
Lindeman & Sons Piano Co " 1887
Lockhardt Piano Co " 1892
.New York
APPENDIX
463
Lockwood Piano Co Established
Ludwig & Co "
Macfarlane, John "
Mansfield Piano Co "
Marshall & Wendell Piano Co "
Mathushek & Son Piano Co
Mehlin, Pavil G., & Sons
Metzke, O., & Son
Milton Piano Co
Needham Piano Co "
Newby & Evans "
Ovivrier Bros "
Palmer Piano Co "
Pease Piano Co "
Peerless Piano Player Co "
Peters, W. F., Co
Radle, F
Regal Piano & Player Co
Rehbein Bros
Ricca & Son
Rudolf Piano Co
Schencke Piano Co
Schleicher, Geo., & Sons "
Schubert Piano Co
Sohmer & Co
Solingen Piano Co
Stadie & Son
Steck, Geo., & Co 'J
Steinway & Sons
Strich & Zeidler
Stroud Piano Co
Stultz Bros
Stultz & Bauer
Stultz & Co "
Sturz Bros
Stuyvesant Piano Co
Technola 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, O. W '^
Wurlitzer Mfg. Co., Rudolph
Sporer, Carlson & Berry
Armstrong Piano Co ^^
Brewster Piano Co ^^
Cook Piano Co., J. B
Foster & Co ^,
Gibbons & Stone ^^
Goetzmann & Co
,New York
1889 . . .
tt
1902
It
1906
ti
(I
1871
ti
1889
(4
t(
1892
l(
1846
tt
1882
it
it
1906
it
1844
t(
1889
tt
1902
cc
1898
tt
it
It
1891
tt
1903
it
tt
1878
it
1882
It
1872
it
1910
it
1899
tt
1857
ft
1853
tt
1889
tt
1911
tt
1909 :
tt
1880
tt
1905
if
1871
tt
1881
tt
tt
ft
1906
tt
1881
tt
1908
It
tt
tt
1889
tt
1899
tt
1909
tt
1845
tt
1851
(C
1879
tt
1877
tt
1867
tt
it
1900
ft
fi
tt
it
1886
tt
tt
1893
tt
tt
1856
1801
North Tonawanda
Oweffo
Hophpstpr
1821
1905
464
APPENDIX
Haines Bros Established
Haines & Co
Marshall & Wendell Piano Co
Eopelt & Sons Piano Co
Engelhardt, F., & Sons
Vough Piano Co i .
Huebner Piano Co
. Rochester
.Milwaukee
1901
1889 St. Johnsville
1861 ...■ Waterloo
Yonkers
Ohio
Baldwin, The, Co Established 1862
Butler Bros. Piano Co "
Church Co., The John
Ebersole Piano Co "
Ellington Piano Co "
Harvard Piano Co "
Krell Piano Co., The
Valley Gem Piano Co
Wurlitzer, Rudolph, Co., The
Raymond Piano Co "
Columbus Piano Co "
Chase, A. B., Co
Cincinnati
1910 "
1859
1910
1890 "
1885
1889
1890 "
1856 "
1856 Cleveland
1904 Columbus
1875 Xorvvalk
Pennsylvania
Lehr, H., & Co Established 1890
. Easton
Kellmer Piano Co
Colby Piano Co
Blasius & Sons
Cunningham Piano Co
Lester Piano Co
Oeser Co., Fred, The
Painter & Ewing
Schomaeker Piano Co
Bennett Piano Co., W. C. . .
Kleber, H., & Bro ...
Weaver Organ & Piano Co.
Van Dyke Piano Mfg. Co. .
Keller, Dunham Piano Co.
1883 Hazleton
1859 Erie
1855 Philadelphia
1891
1888 "
1893 "
1838 " ,
1900 Warren
1841 Pittsburg
1870 York
1880 Scranton
1909
Wisconsin
Conrad Piano Mfg. Co Established 1910 Milwaukee
Gram-Richtsteig Piano Co.
Kreiter Piano Co
Waltham Piano Co
Netzow, C. F., Mfg. Co..
Wilson Piano Co
Miller, S. W., Piano Co..
1908
tt
1885
1885
1909 , "
1896 , . . . Sheboygan
PIANO SUPPLY MANUFACTURERS
Connecticut /
Pratt, Read & Co Keys and Actions 1806 Deep River
Comstoek, Cheney & Co., The " " " Essex
Universal Music Co Music Rolls 1904 Meriden
Davenport, John, Co Iron Frames 1868 Stamford
Blake & Johnson Hardware 1849 '. .Waterbury
Illinois
Gulbransen-Dickinson Co Player Actions 1906 Chicago
Piano & Organ Supply Co Actions and Keys 1871 "
Schaff, John A Strings 1889 "
Oregon Foundry & Machine Co Iron Frames 1907 Oregon
Kurtz Action Co Actions 1903 Rockford
APPENDIX M5
i
Massachusetts, ' , ,. , : ^.'l
Schwamb, Theo., Co Piano Cases Arlington
American Felt Co Felts 1899 Boston
Faxon, Geo. H., Co Hardware 1850 "
Felters Co., The Felts iniO
Frazier, Dan E Hammers 1860 Cambridge
Seaverns Piano Action Co Actions 1851 "
Standard Action Co " 1889
Tower, Sylvester, Co Keys and Actions 1854
Lockey, I. H., Piano Case Co Cases ] 850 Leominster
Eiehardson Piano Case Co ' 1891 "
Smith, F. G "
Wellington Piano Case Co " 1895
Tuner's Supply , Co.. The , , Tools 1885 Somerville
Simplex Player Action Co Player Actions 1883 Worcester
New Hampshire
Parker & Young Co Soundboards 1857 Lisbon
New Jersey
Abbott Piano Action Co Actions 1858 Fort Lee
American Musical Supply Co Supplies 1897 Jersey City
National Music String Co Strings . . . New Brunswick
Celluloid Piano Key Co Keys 187G New York
Looschen Piano Case Co Cases : 1885 Paterson
New York
Phelps, M. S., Mfg. Co " 1891 Brockport
Brown & Patterson . ... . . .Iron Frames 1861 Brooklyn
Young, F. W. & Co '. Actions 1868
Wood & Brooks Co Actions and Keys 1901 Buffalo
Cheney, A. C, Piano Action Co Actions 1892 Castleton
Davis, I.- E., Mfg. Co Cases 1903 Cortland-
Breckwoldt,' Julius, & Co Soundboards 1896 Dolgeville-
Ramsey, Chas., Co Hardware 1S97 Kingston
New York Pianoforte Key Co Keys 1890 Middletown,
Grubb & Kosegarten Bros Actions . 1S37 .Nassau;
American Union String Co Strings New Yorb
Auto- Pneumatic Action Co Player Actions " " /'
Connorized Music Co Music Rolls " " '
Courtade. Jos. N '.' Cases 1872 "
Erlandsen, J Tools l«lil " "
Oocpol, C. F., & Co Hardware 1802 |' " ' •
Haas, Henry, & Son " ISf"" "
House, C. W., & Sons ■ Felts 1902 . . . ...... . '^'^ '^^ -
Kapp, Robt. L., Co Hammers.... 1910 ........ ^ ^^ ;
Koch, Rud. C Strings 18aS ........ .
Mapes, Stephen S
N. Y.' Co-operative Piano String Co.. " ^' -^"^
New York Piano Hardware Co Hardware 1907
Pfriemer, Charles Hammers 1870
A 0 rt^ VpH^ . . . 1901
Tmgue, Brown & Co {f^^f
Ramacciotti.F •■ -■• • • -Strings ' . . . . 1867
Schirmer, Charles Hardware 8bb
Schmidt, David H., & Co Hammers 1856
Schwander Action Co Actions i«4o
Staib-Abendschein Co ','.'■'' '.'.'.'. '
Standard Pneumatic Action Co Player Actions . —
Strauch ■ Bros ;■.•.• ^''^Kins 1^07
Wasle & Co .■.■.•,•■■■ „ ' ' ' lR7t;
Wessell, Nickel & Gross ^°'''
V \
466
APPENDIX
Engelhardt, F., & Sons Actions 1889 St. Johnsville
Ohio
Fairbanks Co., The Iron Frames 1890 Springtield
Kelley, 0. S., Co " " 1890
Wickham Piano Plate Co " " .1890 "
Wisconsin
Billings Spring Brass Flange Co.. . .Hardware • Milwaukee
CANADA
PIANO MANUFACTDRERS
Nova Scotia
Willis Piano & Organ Co Established . . . .
Ontario
Snyder & Co., Wm Established -
Dominion Piano & Organ Co
Doherty & Co., W
Barclay, Glass &, Co
Bell Piano & Organ Co
Morris Piano Co
Wormwith & Co
William Sons, R. S
Williams Piano Co
Martin Orme Piano Co
Blundall Piano Co
Consolidated Crossin Piano Co
Gourlay, Winter & Leeming
Heintzmann & Co
Heintzmann Co., Gerhard
Mason & Risch Piano Co
Mendelssohn Piano Co
Newcombe Piano Co
Nordheimer Piano & Music Co
Owen & Son, R. S
Stanley, Frank
Palmer Piano Co
Uxbridge Piano & Organ Co
Karn Co., D. W
Thomas Organ & Piano Co., The ....
Quebec
Craig Piano Co Established -
Laflfargue Piano Co., The
Pratte, A
Shaw & Co., J. W
Willis & Co
Lesage & Fils
Senecal & Quidoz
.Stellarton
.Berlin
1870 Bowmanville
1875 Clinton
Duudas
1864 Guelph
1892 Listowel
Kingston
1849 London
Oshawa
Ottawa
Toronto
1908
1850
1871
1885
. Uxbridge
1832
.Woodstock
. Montreal
.St. Therese de Blainsville
PIANO SUPPLY MANUFACTURERS
Ontario
Barthelmes & Co., A. A Actions
Best & Co., D. M Hammers
Bohne & Co "
Canada Piano Action & Key Co Actions and Keys
Coates, A. E Strings
Higel Co., Otto Actions and Keys
Kerr, A Actions . ,
Loose, Jos. M Keys
Toronto Piano String Mfg. Co Strings
.Toronto
INDEX
GENERAL INDEX
Action, Practice, Clavier, 82, 83
Actions, Grand, 58, 59, 60, 61, 84, 85, 88,
89, 90, 91, 258
Actions, Hammer, 31, 41, 42, 43, 44, 45,
46, 47, 48, 83, 84-96, 126-128, 261, 262
Action, "Hopper," 218
Actions, Player-Piano, 162
Action, Kepetition, 247
Actions, Upriglit, 53, 54, 91-96
Agraffe, 61
Bridge, Soundboard, 52, 109
Bridge, Linear, 323
Bush Temple of Music, Chicago, 356
Capo Tasto, 61
Cases, Grand, 38, 57, 58, 63, 64
Cases, Piano, 116-117, 119, 120
Clavichord. 29, 30, 31
Clavieytherium, 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 Piano
Industry, 182
Dulcimer, 41, 42, 43
Export, 199, 200
Felt, Piano, 120-123, 240, 241, 259
Flugel, 57-65
Frames, Iron, Grand, 59, 61-63, 69-76
Frames, Iron, Piano, 128
Frames, Iron, Square, 50-52, 69, 302
Frames, Iron, Upright, 53, 55, 56, 69-71,
74, 75
Hackbrett, 41, 42, 43
Halls :
Aeolian, 331
Bluthner, 393, 400
Bosendorfer, 220, 393, 401
Chickering, 175, 274, 391, 393
Ehrbar, 222, 393
Halls. Continued
Erard, 253, 393, 398
Gewandhaus (New), Leipsic, 388
Gewandhaus (Old), Leipsic, 386
Herz, 258, 393-
Pleyel, 257, 393, 399
Steck, 318, 393
Steimvay, London, 309
Steinway, New York, 175, 302, 309, 390,
393
Hammers, Piano, 97-106, 123
Handel and Haydn Society, 276
Harp, Erard, 352, 353
Harpsichord, 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
Monochord, 27
Name, Value of, in the Piano Industry,
213, 214
Organ, 77
Organ, American Cabinet, 316
Pedal, 38
Piano, The Art, 187-191
Pianos, Art Grand
Baldwin Company (Insert p. 190)
Chickering & Sons " "
Erard " "
Everett Piano Company " "
John Broadwood & Sons " "
Julius Bluthner " "
Ludwig Bosendorfer " "
Pleyel, Lyon & Co.
Rudolf Ibach Sohn "
Steinway & Sons " "
Weber Piano Company " "
William Knabe & Company " "
Piano, The Commercial, lOSJ 175, 179-181,
261
Pianoforte, 41-48
Piano, Grand, 57-65, 69, 70-71, 77, 304
Pianos, in Department Stores, 182
470
INDEX
Piano Industry, Leading Firms in, 213
Piano Manufacturers, Consolidation of,
182, 183
Pianos,
Number produced per year, 175, 206, 434
A^alue of yearly output, 175
Pianos, Pedal, 191-194
Pianos, Square, 47, 52, 57, 269, 302
Pianos, Stenciling, 182
Piano, Upriglit, 53-57, 65, 70, 71, Insert
190, 260
Pianos, Value of Name on, in the Piano
Industry, 213-215
Piano, Vertical Grand, 48
Pins, Hitch and Tuning, 128
Piano Players and Pl\yeb Pianos:
" Aeolian " Organ, 327
" Aeriol " Pianos, 147, 150, 328
"Angelus" Piano Player, 138
"Apollo" Piano Player, 154
" Aristano " Grand Player Piano, 375
" Artistyle," 158
" Ariston " Piano PI lyer. 155
Bishop & Downe's Keyboard Attach-
ment, 1883, 136, 139
Brown's Interior Player, 1F97, 150
Bain's Automatic Piano, 133
Cecilian Player Piano, 372
" Celestina " Orguinette, 327
Clark's Stroke Button, 1905, 155, 156
Clark's Stroke Button, 1907, 155, 156
Clark's Transposing Device, 1899, 151,
152
Clark's Transposing Device, 1902, 152
Crook's "Themodist," 1900, 158, 101
Danquard's Flexible Finger Mechanism,
1904, 154, 155
" Dea " Piano Player, 157
Fourneaux's " Pianista," 133, 134, 135
Gally's Player Mechanism, 1881, 136,
138
Goolman's "Harmonist" Player, 1898,
152, 153, 379
Hobart's Endless Tune Sheet, 1908, 154
Hupfeld's "Phonola" Player, 1902, 155,
157, 158, 159
Jaequard's Perforated Endless Card-
board, 133
Kelly's Wind Motor with Slide Valves,
1886, 136, 139
Keeley-Danquard " Temponome," 1911,
158, 162
Klugh's Auxiliary Key, 1906, 153, 155
Kuster's Mechanical Instrument, 1886,
136, 140
McTamriiany's Automatic Playing Or-
gan, 1868, 134, 135, 136, 137
"Metrostyle" Player Piano, 158, 161
Morse's Automatic Organ, 132
Pain and Kuster's Self-playing Piano,
136, 137
Pape's Automatic Piano, 133
Parker's Automatic Piano, 1892, 137,
141, 142
"Peerless" Piano Player, 152, 379
" Phonola " Piano Player, 155, 157, 158,
159
" Phrasing Lever," 158
" Pianista " Piano Player, 133, 134, 135
"Pianola" Piano Player, 150, 372
Player Pianos, 131-162, 194, 195
Seytre's Automatic Piano, 133
"Simplex' Piano Players, 150
"Temponome," 158, 162
"Themodist" Player Piano, 158, 161
Vaueanson's Pierced Cylinder for Auto-
matic Musical Instruments, 133
Votey's Cabinet Player, 149, 150
Weliu's Individual Valve System, 1902,
155, 157
" Welte Mignon " Piano Player, 157
White and Parker's Combination L^p-
right Piano and Reed Organ, 1895,
143, 144
White and Parker's Automatic Piano
Player, 1897, 145-148
Young's "Metrostyle," 1901, 158, 161
Resonator, 110, 111
Scale, Diatonic and Chromatic, 77
Scale, Equalizing, 323
Scale, Flat, 49, 62, 70
Scale, Overstrung, 51, 52, 54, 58, 62, 63,
64, 71, 302
Soundboard, 31, 106-111, 117-119
Spinet, 32, 33
Hans Ruckers Double (Insert p. 191)
Stencil, Legitimate Use of, 182
Strings, 31, 38, 53, 54, 55, 69
Trade Associations Among Manufacturers
and Dealers, 405-411
Trade Press, The, 415-420
Trust Movement of 1892, 1897, and 1899,
205
Virginal, 33, 34
Wire, Piano, 123-126, 242
Wrest Plank, 49
INDEX OF NAMES
Abbott, Frank A., 417, 418
Abbott Piano Action Co., 321
Adam, Gerhard, 231
Aeolian Company, 147, 150, 152, 182, 199,
299, 319, 326, 329, 330, 332, 334, 372
Aeolian Company, Ltd., 332
Aeolian Organ & Music Company, 327
Aeolian, Weber Piano & Pianola Company,
332
Albrecht, Charles, 50
Allen and Thom, 59, 69, 70
Allgaiier & Zoon, 263
Allison, Arthur & Co., 248
.American Piano Company, 183, 276, 286,
296, 335
Ammon. John, 104, 105
Amphion Company, 334
Andrf, Carl, 408
Angelo, ilichael, 166
Arion Piano Co., 366
Ariston Company, 334
Armstrong, George B., 418
Armstrong, George W., Jr., 346, 347
Armstrong Piano Co., 336
Arnold, Richard, 274
Auto Grand Piano Co., 155, 358
Automatic Music Paper Company, 327
Autopiano Company, 333
Auto-Pneumatic Action Co., 334
Babeock, 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
Baldwin 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, 387, 388, 400
Behning, Gustav, 320
Behning, Henry, 319, 320
Behning, .Jr., Henry, 320
Behning Piano Company, 320
Behning & Son, Henry, 319, 320
Behr Brothers, 336
Behrend, 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 Organ Co., 370
Bishop & Downe, 136, 139
Blackmore, D. J., Insert 410
Blasius Piano Co., 336
Blondel, Alphonse, 254
Bloomfield-Zeisler, Fannie, 356
Blumenberg, Marc 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, William, 278, 279
Bourne, Charles H., 279
Bourne, William, 278, 279
Bourne & Company, William, 278
Bradbury, William B., 314
Bradley, Kenneth M., 356
Breitkopf & Hartel, 169
Brewster Piano Company, 336
Briggs, C. C, 293
Briggs Piano Co., 338
Brinsmead, Edgar, 173, 247, 425
Brinamead, 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
INDEX
Broadt^-TOxi^ Jihn, 48, 59, 62, 243, 244,
388
Broadwood, Thomas, 245
Broadwood, Walter Stewart, 245
Broadwood & Sons, 70, 75, 88, 94, 157, 172,
173, 189, Insert 190, 242, 245
Brooks, Ltd., 126
Brown & liallet, 286
Biilow, Hans von, 228, 274, 390, 391
Buschmann, Gustav Adolph, 232
Bush, William L., 355, 356, 357
Bush, William H., 355, 356
Bush & Co., William H., 355
Bush & Gerts Piano Co., 357
Bush & Lane, 362
Burns, Edward M., 287, 288
Burns, Francis Putnam, 286, 287
Busoni, 158, 392
Butcher, Thomas, 247
Byrne, J. P., Insert 410
Cable, Favette S., 344, 345
Cable, H.'D., 343, 344, 345
Cable, Hobart JL, 344
Cable Company, 155, 345
Cable Company, Hobart M., 362
Campbell, John Calvin, 334, 335
Camp, Isaac N., 376
Carreno, Teresa, 309, 338, 392, 398
Challen, C, 247
- Challen, William, 247
Challen & Son, 247
Chambers, 277
Chaminade, 338
Chappell & Co., 248
Chase, A. B., 374
Chase, Bra ton S., 358
Chase Bros. Piano Co., 358
Chase Co., A. B., 374, 375
Chase-Haekley Piano Co., 358
Chase, Milo J., 349
Chase Piano Co., 349, 358
Chase & Baker Compiny, 334
Chassaign Fr6res, 263
Chicago Cottage Orgm Co., 343
Chickering Brothers, 362
Chlckering, C. Frank, 273-276
Chickering, George H., 275, 276
Chlckering, Jonas, 51, 52. 70, 174, 270-272
Chickering, Thomas E., 273
Chickering & Sons, 183, 190, Insert 190,
273, 274, 276, .335
Chilton Piano Company, 332
Chopin, Frederic, 79, 171, 253, 256, 388
Choralion Co., 332
Christofori, Bartolomo, 42, 44-47, 58, 86-
88, 97, 166, 216
Church Company, John, 337, 338
Clark, Melville, 151, 152, 154-156, 376-378
Clark Piano Co., Melville, 362, 377, 378
Clark & Rich, 377
Cleland, .Jonas M„ Insert 410
Clement, Louis H., Insert 410
Clementi, Muzio, 245, 246, 392
Cludsam, 78
Collard, Charles Lukey, 246
Collard, F. W., 246
Collard, W. P., 246
Collard & Collard, 246
Collins, Benjamin, 100, 104
Conover, J. Frank, 344
Conway, C. C, 286
Conway, E. E., 286
Conway, Edwin Stapleton, 340-343, Insert
410
Cook Piano Co., J. B., 336
Cramer, 392
Crehore, Benjamin, 50, 270
Crew, B. B., Insert 410
Crooks, J. W., 158, 161
Cuijpers, J. F., 263
Cunningham Piano Co., 336
D'Albert, Eugene, 285, 309
Damrosch, Leopold, 309
Daniell, C. A., 418
Danquard, Thomas, 154, 155, 158, 162,
333, 334
DaVinci, 166
Davis, George H., 286
Decker, Frank C, 317, Insert 410
Decker, Myron A., 287, 317
De P.-iclimann, 158, 274, 348, 393, 397, 398
Detroit Organ Co., 371
De Wit, 188, 418, 427, 428, Insert 428, 429,
438
Dickinson, 160
Diederichs, Gebr., 264
Ditson & Co., Oliver, 350, 351
Doane, Wing & Gushing, 336
Dobbs, W. C, 246
Dolge, Alfred, 99, 106, 117
Dolmetseh, 438
Dorner & Son, F., 231
Dorr, Karl, 222
Doud, L. L., 375
Drelier, Henry, Insert 410
Droop, E. H., Insert 410
Dubois, 277
Dubois & Stodart, 288
Dunham, John B., 322
Durkee, George B., 352
Dutton, William Dalliba, Insert 410
Eaton, George L., 336
Eavestaff & Son, 248
Eddy, Charles H., 336
.Eddy, Clarence, 372
Ehrbar, Friedrieh, 220, 221, 407
Ehrlich, Paul, 155, 157
Ekstrem & Co., G., 263
Emerson Piano Co., 293
Emerson, William P., 292. 293
Engelhardt, Alfr§d_D., 379
INDEX
473
Engelhardt, Frederick, 378, 379
Engelhardt, Walter L., 379 -
Engelhardt & Sons, P„ 152, 154
Erard, Jean Baptiste, 252, 254
Erard, Pierre, 58, 61, 199, 254
Erard, Sebastian, 48, 58-61, 70, 79, 88, 92,
171, 189, Insert 190, 191, 199, 214,
233, 251-254
Essipoff, Annette, 309, 318
Estela, Pindo de Pedro, 262
Estey, Jacob, 363-365
Estey, Jacob Gray, 366
Estey, J. Harry, 366
Estey, Julius, 364-366
Estey Organ Co., 364
Estey Piano Co., 364
Everett Piano Co., 181, 190, Insert 190,
337
Faber, Daniel, 30
Farrand Co., Tlie, 362, 372
Farrand, W. R., 371
Farrand & Votey Co., 371, 372
Fetis, M., 29, 423
Feuricli, Hermann, 409
Feurich, Julius, 236
Fischer, A. H., Insert 410
Fischer, Carl, 167, 216, 289
Fischer, Charles S., 289, 290
Fischer, John U., 289, 290
Fiselier, J. &. C, 216, 290
Fischer, P. F., 98, 121
Fortin, 121
Foster, Armstrong & Co., 183
Foster, C. H. W., 336
Foster & Company, 335
Fourneaux, 133-135
Fox, Orrin L., 417
Freund, Harry E., 417
Freund, John C, 416, 417
Frickinger, F. W., 127, 287
Friederici, C. E., 48, 49, 91, 92
Fritz & Meyer, 127
Fritz & Sohn, J., 222
Fuchs, 123
Fuller, Levi K., 364, 365
Gabler, Ernest, 314
Gabrilowitsoh, Ossip, 398
Gaehle, Henry, 283
Gaily, Merritt, 136, 138
Gaveau, J. G., 171, 261
Gebauhr, C. J., 231
Gehrling, Charles, 127
Geib, 168
Gennett, Harry, 349
Gennett, Henry, 349
Geronimo, 57, 188, 216
Gerts, John, 355, 356 . ,
Gertz, Richard W., 110, 111
Gevaert, V., 263
Gibson, J. H., 337 ;,;.i
Gilbert & Co., 174
Goll, Jacob, 108
Gomph, George, 287
Goolman, F. R., 152, 153
Gottsehalk, 194
Gramer, J., 293
Gram-Riehtsteig Piano Co., 362
Gray, James A., 277, 278
Gray, James Stuart, 278
Gray, William James, 278
Gregory, Robert B., 353
Gretsehel, Heinrieh, 424
Grinnell Brothers, 362
Grinnell, C. A., Insert 410
Gross, Charles J., 292
Gross, Jacob, 291, 292
Grotrian, Wilhelm, 74, 232
Grover & Grover, 248
Grovesteen, Fuller & Co., 286
Grovesteen, James H., 286
Grubb & Kosegarten Brothers, 127
Grunewald & Co., L., 378
Guarra, Hermanos, 262
Guido, 28, 77, 215, 216
Guilmant, 371
Gulbransen-Dickinson Co., 334
Giinther, J., 263
Giinther & Sohne, 230
Hackley, C. H., 358
Haddorii Company, 362
Hale, Joseph P., 179-181, 200
Haines Brothers, 295, 296, 335
Haines, Francis, 294, 295
Haines, Napoleon J., 294-296
Hallet & Davis Piano Co., 286
Hals, Brodrene, 263
Hamilton Organ Co., 346
Hamlin, Emmons, 315
Handel, 243, 385
Hannemann, Robert, 424
Hansing, Siegfried, 91, 106-108, 426
Hardman, Hugh, 290
Hardman, John, 290
Hardman, Peck & Co., 290
Harger, C. B., 418
Harvard Piano Co., 338
Hawkins, John Isaac, 53, 69
Haydn, 243, 385
Haywood, Samuel, 158, 190
Hazelton Brothers, 288
Hazelton, F. & H., 288
Hazelton, Halsey, 289
Hazelton, Henry, 286, 288
Hazelton, John, 288
Hazelton, Samuel, 289
Hazelton, Talbot. & Lyon, 288
Healy, Mark, 354
Healy, Patrick Joseph, 350-353
Healy, Paul, 354
Hebgnstreit, 42
Heintzmann, Theodore A., 313, 314
47i
INDEX
Heitzmanii, Otto, 222
Helfferich, 232
Helmholtz, 304, 305, 425, 426
Hen-burger, Josef, 91, 95, 261, 262
Herz, Henry, 85, 89, 171, 257-259, 392, 393
Heyer, Wilhelm, 188, 429
Heyl, G., 231
Hildebrand, 84
Hiller, 257
Hipkins, A. J., 53, 91, 425
Hobart, A. J., 154
Hoflfmann, Richard, 275
Hofmami, Josef, 391, 392, 399, 400
Hollenberg, F. B. T., Insert 410
Hopkinson, James, 247
Hopkinson, John, 247
Hopkinson, J. & J., 173, 247
Hornung & Miiller, 263
Houghton, W. D., 125
Hoxa, 61, 70
Hume & Co., 338
Hummel, 257
Hupfeld, Ludwig, 155, 157-159
Ibaeh, Carl Rudolf, 223
Ibach, Johannes Adolf, 108, 222
Ibach, Rudolf. 224, 22.5
Ibach Sohn, Rudolf, 189, Insert 190, 224
Ibach, Walter, 225, 226
Irmler, Emil, 227
Irmler, Johann Christian Gottlieb, 169,
225, 226
Irmler, Oswald, 226, 227
Irmler, Otto, 227
Isermann, C. W., 238
Isermann, J. C. L., 237, 238
Isermann, Ludolf, 123, 126, 237, 239
Ivers & Pond Co., 338
Izabel, Louis, 262
Jacob Brothers, 321, 325
Jacob, C. Albert, 321, 322
Jacob, Charles, 321
Jacob, John F., 321
Jaequard, 133
James, A. C, 286
James & Holmstrom, 286, 321
Janko, Paul von, 78-83
Japanese Musicil Instrument Mfg. Co., 266
Jardine, John, 62
Jewett Piano Co.. 338
Johnston. R. A.. .346
Joseflfy, Rafael, 158, 274, 285, 309, 391,
398
Kaim & Gunther, 230
Kaim & Sohn, 230
Kalkbrenner, 256, 257, 392
Kaps, Ernst, 64
Keeley, 158, 162, 334
Keller, 90, 127
Kelly, George B., 136, 139, 160, 331, 332
Ketten, Henry, 274
Kimball, C. N., 286, 343
Kimball, 0. A., 293
Kimball, William Wallace, 339-343
King; Arthur P., 362
King, Julie Riv6, 356
Kirkman, 77, 172
Klugh, Paul B., 153, 155
Knabe, Ernest, 283-286
Knabe, William, 282
Knabe, William, Jr., 283, 285
Knabe & Co., William, 175, 183, 190, In-
sert 190, 283-285, 335
Ivnabe & Gaehle, 283
Knake, Gebruder, 231
Kohler, Charles, 334
Kohler & Campbell, 334, 335
Kraft, Theodore J., 338
Krakauer Brothers, 327
Krakauer, Daniel, 327
Krakauer, David, 326
Krakauer, Julius, 327
Krakauer, Simon, 326, 327
Kranieh & Bach, 336
Krause, Dr., 78
Krehbiel, Henry Edward, 427
Krell, Albert, 357, 358
Krell, Alexander, 357, 358
Krell Auto Grand Piano Co., 157
Krell-French Piano Co., 358
Krell, Jr., Albert, 357, 358
Krell Piano Co., 358
Kreter, Rudolf, 99, 100
Kriegelstein, Charles, 259, 261
Kriegelstein, Georges, 261
Kriegelstein, Jean Georges, 260, 261
Kriegelstein & Co., 260
Kunz, 58
Kurtzmann, Christian, 292
Kuster, Charles A., 136, 140
Kuster, Henry, 136
Laffert, Oscar, 428
Danger & Co.,. F., 90, 95, 127, 239
Lauter, 336
Lawrence, R. W., 333
Dawson, Charles B., 326
Lee, Frank A., 337-339, Insert 410
Lester Piano Co., 336
Lexow, 127
Lighte & Newton, 314
Lindeman, Henry, 280
Lindeman, Samuel G., 280
Lindeman, William, 279, 280
Lindner, I. P., 231
Lipp & Sohn, Richard, 231
Liszt, Franz, 194, 225, 305, 389, 397
Loud Brothers, 62
Loud, Thomas, 53, 84
Ludwig & Co., 336 \
Lufkins, W. W., 342, 343
Lydecker, Peter De Witt, 381
Lyon, George W., 353
INDEX
475
Lyon, Gustave, 257, 406
Lyon & Healy, 350-354
MacKay, John, 174, 270, 271
Malmsjo, I. G., 263
Mand, Carl, 231
Marius, 41, 42
Marshall, James & Traver, 287
Marshall, Sir Herbert, 409
Marshall & Mittauer, 320
Marshall & Wendell, 287, 335
Martin, Jane, 427
Mason, Henry, 315
Mason, John W., 326
Mason, Lowell, 315
Mason & Hamlin, 76, 110, 181, 315, 316
Mason, J. R., 370-372
Mathews, Mason J., 327
Mathushek, Frederick, 84, 85, 100, 108,
109, 123, 321-325
Mathushek Piano Co., 323
Mathushek & Son, 325
Mathushek & Sons Piano Co., 321
Matzka, George, 274
McPhail, A. M., 278, 279
McPhail Co., A. M., 279
McTammany, John, 134-137
Mehlin, H. Paul, Insert 410
Mehlin & Sons, 336
Mendelssohn, Felix, 191, 228
Menter, Sophie, 228, 318, 399
Merckel. 123
Merrill Piano Co., 338
Methfesscl, Albert, 300
Mever & Co., 174, 231
Miiler, Henry F., 336
Miller, James C, Insert 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
Mollenhauer, C, 274
Monnington & Weston, 248
Monroe Organ Heed Company, 328
Montana., 262
Moore, William, 293
Morgenstern & Kotrade, 127
Morse, Justinian, 132, 133
Moscheles, 169, 257
Moser, 108
Mott, Henry A., 426
Mozart, Wolfgang Amadeus, 32, 59, 87,
218, 243, 385-387
Musin, Ovid, 356
Nagel, G. L., 231
Naish, 121
Neitzel, Dr., 338
Nelson Co., The H. P., 362
Neuhaus, 78
Newman Brothers, 362
Nickel, Adam, 380, 381
Nickel, Jr., Henry, 381
Nickerson, William E., 417, 418
Niemann, Dr. Walter, 285, 424, 426
Nishikawa & Son, 266
Norton, Edward Quincy, 425
Nunns, William, 289
Nunns & Clark, 174
Nunns & Company, 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, E. 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
Patzschke, C. W., 240
Patzschke, F. W., 240, 241
Patzschke, Rudolf, 241
Paul, Dr. Oscar, 424
Payson, Edward S., 293, Insert 410
Pease Piano Co., 336
Peck, Leopold, 290
Perkins, Edward R., 330
Perzina, Paul, 79-83
Pfeifter, 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, Madame, 257
Pleyel, WolflF & Co., 125
Poehlmann, Moritz, 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
Rachals, Adolf Ferdinand, 233
Raehals, Edward Ferdinand, 232-234
Rachals, Mathias Ferdinand, 232, 233
Raven, 277
Reed, P., 287
Reinecke, 169
Reisenauer, 338
Remenyi, Ed., 274
Rijken & de Lange, 263
Rimbault, Dr. Ed. 'F., 34, 423, 424
Ritmiiller, Andreas Georg, 168, 226
Ritter, 231
Rohlfing, Gebruder, 231
Eollason & Son, 124
Ronisch, Carl, 236, 237
Roosevelt, Frank, 371
Roseler, 167, 216
Rose, Frederick, 245
Rose, George D., 245, 409
Rose, George Thomas, 245
Rosenkrantz, Ernst, 168
Rosenkrantz, Ernst Philip, 226
Rosenkrantz, Friedrich Wilhelm, 226
Rosenthal, Moriz, 158, 285, 392, 393, 398
Rossi, 33
Roth, A. P., 379
Roth & Engelliardt, 379
Rubinstein, Anton, 175, 305, 309, 390, 398
Ruckers, Hans, 166, 188, Insert 190
Runimel, Franz, 275
Sackmeister, 84
Saint-Saens, 257, 285
Sauer, 225
Scarlatti, 37, 276
Schaaf, Adam, 362
Schaeffer Piano Mfg. Co., 362
Scharwenka, Xaver, 275
Scheel, Carl, 233
Schiedmayer, Adolf, 228, 229
Sehiedmayer, Adolf, Jr., 228, 407-409
Schiedmayer, Balthasar, 168, 228
Schiedmayer, Hermann, 228, 230
Schiedmayer, Johann David, 168, 227, 228
Schiedmayer, Johann Lorenz, 228, 229
Schiedmayer, J. & P., 229
Schiedmayer, Julius, 229-231
Schiedmayer, Lorenz, 168
Schiedmayer, Max, 230
Schiedmayer, Paul, 229, 232
Schiedmayer & Sohne, 228
Schiller Piano Co., 362
Schmidt, David H., 381
Schmidt, Franz, 407
Schmidt, Johann, 53
Schmidt, John Frederick, 381
Schneider's Neflfe, Josef, 222
Schomaeker, Henry C, 282, 336
Schomaeker, John Henry, 214, 280, 281
Schomaeker Piano Co., 281
Schone, Louis P., 191
Schroder, Carl, 265
Schroder, Carl Nicolai, 263-265
Schroder, Johann Friedrich, 262, 264
Schroder, John, 265
Schroder, Karl Michael, 264
Schroder, Oskar, 265
Schroter, Christoph, 42, 43, 45, 86, 88, 165
Schulz Co., M., 360
Schulz, Mathias, 359, 360
Schulz, Otto, 360
Schumacher, Johann Heinrich, 214, 280
Schumann Piano Co., 362
Schumann, Robert, 191, 194
Schwander, Jean, 91, 95, 127, 260-262
Schwarz, M., 274
Schweighofer Sohne, I. M., 222
Seaverns, George W., 96, 127
Seidl, Anton, 275, 309
Sembrich, 285
Seuffert, 221
Seyffarth, Hermann, 428
Seytre, 133
Shaw, F. S., 345
Shoninger, Bernhard, 316
Shoninger, S. B., 317
Shudi, Burkat, 188, 214, 243, 244
Sievers, G. F., 167, 216, 424
Silbermann, Andreas, 217
Silbermann, Gottfried, 44, 45, 58, 86, 167,
217, 386
Silbermann, Johann Daniel, 217
Silbermann, Johann Friedrich, 217
Simplex Piano Player Co., 334
Simpson, John Boulton, 366
Smith, Barnes & Strohber Co., 362
Smith, Chandler W., Insert 410
Smith, Freeborn G., 314, 315
Smith & Houghton, 124
Smith & Sons, 125
Sohmer, Hugo, 320
Sohmer & Co., 320
Southwell, William, 54
Spillane, Daniel, 425
Spinnetti, Giovanni, 32, 33, 316
Squire & Son, B., 248
Standard Pneumatic Action Co., 334
Starck Co., P. A., 362
Starr, Benjamin, 348, 349
Starr, Janies S., 348, 349
Starr Piano Co., 349
Steck, George, 175, 182, 233, 318, 319
Steck & Co., George, 332
Steger, John V., 361, 362
Stein, Friedrich, 218
Stein, Johann Andreas, 47, 48, 58, 59, 84,.
87, 168, 218, 387
Stein-Streicher, Nannette, 59, 168, 218, 219,,
388, 400
Steinert, Morris, 188, Insert 426, 427, 429,
438
Steinert & Sons, M., 427
Steinway, Albert, 311, 312
Steinway, Charles, 301-304, 306, 313
INDEX
477
Steinway, Charles H., 312
Steinway, C. F. Theodore, 301, 303-306,
308, 312, 313
Steinway, Frederick T., 312
Steinway, Henry, 300
Steinway, Henry Engelhardt, 214, 301, 302,
308, 313, 398
Steinway, Henry, Jr., 301, 304, 307, 313
Steinway, Theodore Cassebeer, 312
Stein wav, Theodore F., 312
Steinway, William, 174, 179, 286, 306-313
Steinway & Sons, 51, 62, 63, 71-73, 85, 89,
102-105, 174, 189, Insert 190, 199, 301-
313
SteinVeg,. Henry Engelhardt, 214, 221, 232,
299, 300
Sterling, Charles A., 370, 371
Sterling Co., The, 370
Stewart, James, 270
Stewart & Chiekering, 270
Stieff, Charles M., 291, 292
Stieff, Frederick P., 290, 291
Still Brothers, 58
Stacker, 85
Stodart, Robert, 58, 59, 69, 277
Story, Edward H., 376, 377
Story, Hampton L., 375, 376, 378
Story & Camp, 376
Story & Clark, 376, 378
Storv & Clark Organ Co., 376, 378
Story & Powers, 375
Straube Piano Co., 362
Streieher, Emil, 219 '
Streieher, Johann Baptist, 86, 87, 168, 218,
219
Streieher, Johann Andreas, 64, 318
Streieher & Sohn, J. B., 219
Streieher & Solin, Nannette, 318
Strich & Zeidler, 336
Strohmenger & Son, 248
Stultz & Bauer, 336
Stuyi'esant Piano Co., 332
Syverson, Ole, 381
Teehnola Piano Co., 332
Thibouville-Lamy, 405
Thomas, Theodore, 175, 309
Thoms, William Jl., 416
Thurmer, Ferdinand, 232
Trasunti, Alessandro, 188, Insert 190
Trayser, 348, 349
Tremaine, Charles M., 277
Tremaine, Harry B., 328-333
Tremaine. William B., 327, 328, 333
Tschudi, Burckhardt, 173, 214, 243
Tyndall, Jolm, 305, 425
Universal ilusic Co., 332
- Valley Gem Piano Co., 346
Vanderstueken, Frank, 274
Van I-Iyfte, B., 263
Van Yorx, 160
Vaucanson, 133
Vits, Emile, 263
Vocalian Organ Company, 332
Vogel & Sohn, I. G., 231
Vose, James Whiting, 293-295
Vose, Willard' A., 294 '
Vose & Sons, 294
Vose & Sons Piano Co., 294
Votey, Edwin Si, 149, 150, 152, 330, 331,
371, 372
Votey Organ Company, 332
Wachtl & Bleyer, 69 '
Wagener, Charles H., 376'
Wagner, Richard, 224, 305, 318
Washburn & Moen, 124, 125
Watson, Henry C, 415, 416, 420
Weber, Albert, 65, 175, 179, 182, 286, 296-
299
Weber Piano Co., 190, Insert 190, 299, 326-
331 332
Webster & Horsfall, 123, 124
Weickert, August Moritz, 237, 239, 240
Weiekert, Carl Moritz, 121, 241
Weickert, Fritz, 241
Weiekert, I. D., 239, 241
Weickert, Max, 241
Weickert, Otto, 241
Weidig, C, 236
Weil, Milton, 417
Welcker von Gontershausen, 423
Welin, Peter, 155, 137
Wellington Piano Case Co., 321
Wells, Charles Avery, 417
Wenzel, 169
Werlein, Philip, Insert 410
Wessell, Arthur, 381
Wessell, Fernando, 381
Wessell, Nickel & Gross, 90, 96, 379
Wessell, Otto, 379-381
Western Cottage Organ Co., 343
Wheeloek Piano. Co., 332
Wheeloek, William E., 325, 326, 331, 410
Wheeloek & Co., William E., 325
White and Parker, 143-148, 152
White, Edward H., 368, 369
White, Frank C, 368, 370
White, Henry Kirk, 307, 368, 370
White, Howard, 368-370
White, James H., 368-370
White, William B., 425
Whitehead Brothers, 121
WHiitney, Calvin, 374, 375
Whitney, C. J., 371
Whitney Organ Co., 371
Whitney, W. C, 375
Wilcox, H. C, 368
Wilcox & White Organ Co., 138, 144, 147,
150, 334; 368
Wilhelmi, 274
Wilke, 99
478
INDEX
Wing, Frank L., 336
Wing, Luman B., 336
Wing, R. Delano, 336
Wing & Son, 336
Winter & Co., 336
Wissner, 336
Witton, Witton & Co., 248
WolflF, Auguste, 257
Wolfinger, F. R., 343
Wolfinger Organ Co., 343
Woodford, I. B., 282
Wormirn, Robert, 54, 92, 93
Wulsin, Clarence, 346
Wulsin, Lucien, 345-348
Wurlitzer Co., Rudolph, 355
Wurlitzer, Farney, 355
Wurlitzer, Howard, 354
Wurlitzer Mfg. Co., Rudolph, 355
Wurlitzer, Rudolph, 354
Wurlitzer, Rudolph H., 355
Yamaba, Torakusu, 265, 266
Young, F. L., 158, 161
Zarlino, Giuseppe, 77
Zeitter & Winkelmann, 232
Ziegler, Doretta Steinway-, 312
Ziegler, Henry, 312
Zumpe, Johannes, 46-48, 87, 168, 172
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