Showing posts with label antique pianos. Show all posts
Showing posts with label antique pianos. Show all posts

Thursday 3 April 2014

Don't Fall for a Cheap Bargain

A Tuner is no stranger to surprises:

Some people, in their search for a cheap piano, are very unfortunate. Hoping for a valuable and useable piano, they look for an advert that says 'free to collect' or perhaps, they are willing to spend £10. Excitedly they get the piano delivered and expect the tuner work a miracle! 


When a tuner is called in to choose the better of 2 such pianos, the chances of finding a half-sensible piano are slightly enhanced. But a good outcome was not to be: neither piano was of any use - one was a curious relic, the other a bad example of a mini-piano. There is no polite way of telling an optimistic piano-hunter that their find would never make a useable piano without spending the kind of money they didn't want to spend in the first place!

A 100 year-old piano has had plenty of time to develop problems that would depress the keenest technician. It is a mistake to imagine that old is always good. This is not Piano agism, rather it is realistic reflection of fact. 

Unless it is top make to begin with, do not consider spending your hard-earned cash on improving it.

Tuner's tip: Don't fall for a cheap bargain!


Tuner's Journal

©

Pianology




Wednesday 11 December 2013

Collard & Collard

The history of Collard & Collard begins around 1760. The story starts with a Music Publishing Company called Longmann & Broderip who dabbled in making pianos. Muzio Clementi, whose many compositions were published by Longmann & Broderip was interested in having a piano-making facility and, being wealthy, he invested in the piano factory and brought in his associates F.W. & W.P Collard to manage it. 

Clementi traveled widely and sold Pianos along with his compositions.
Orders were sent back to London from wherever Clementi visited - he was a very shrewd businessman. At this time, the company was called Clementi & Company. 

F.W. Collard introduced improvements to their pianos, on the strength of which, they took a significant share of the market. When Clementi died in 1832, the firm became known as Collard & Collard. By this time the pianos were solidly built by craftsmen and had a proven reliability.

The Diary of a Nobody  was published in 1892, written by George & Weeden Grossmith. This charming book is a classic of English literature, telling the story of a Mr. Charles Pooter and describes mundane life in late Victorian England. One anecdote involves a new cottage piano - bought on the three years' system, manufactured by W. Bilkson (in small letters) from Collard & Collard (in very large letters). Collards were by this time at least a well-known household name.
Collard & Collard had established themselves as makers of good quality and reliable pianos. They continued to be popular well into the early 20th century. In the late 1920s the piano trade was having to adjust to the harsh realities of very poor sales. Many long-established makers had to close, those whose 'names' were deemed to have value were bought by the stronger of the surviving companies.
Collard & Collard was eventually bought by Chappells.


Directory of Piano Makers

© Steve Burden

Saturday 5 May 2012

Beware of Old Pianos

An antique piano with enormous sentimental value presents the owner with a considerable dilemma! Should you be guided by your heart, or by your head? Antique pianos are often wonderful pieces of furniture - superb examples of exquisite woodworking craftsmanship, but they are really not suitable as a working instrument for a keen pianist.

Different tuners and technicians have their own default position on this kind of scenario - some would rebuild the thing, hoping that the finished piano will play and sound well enough to justify the expense. Others would think twice - knowing how brittle these old actions can be. The chances are pretty high that there will be many added workshop hours simply repairing broken parts or making good the extremes of prolonged wear and tear.

In the course of a normal year's tuning, tuners meet with plenty of rebuilt pianos and while there is no doubt these pianos are better for the work having been done, the piano is still an old piano.  

Meeting a rebuilt piano for the first time, a piano tuner can have an awkward time trying on the one hand to be kind, and on the other hand, to be honest. Invariably, the truth is not easy to convey. The piano can have all new parts fitted, new strings and felts, it can look like the classic showroom piano, but get it delivered back to your home, play it for a few weeks and all too often, small problems become too large to ignore.

Are there exceptions to the rule? Fortunately, yes, but the conditions are hard to meet! Firstly, the piano has to be one of the top names. Secondly, the piano should not be too old. Anything manufactured before 1900, and you are really wasting your money on any work beyond regulating. Rebuilding a piano made in the late 1800s, should be done purely for serious sentimental reasons. 

Pianos are to be used and enjoyed - they should be an absolute pleasure to play. You cannot enjoy one that has a heavy action and is unresponsive or stays in tune for less than a couple of weeks. The idea that 'Old is beautiful' does not apply to pianos - unless of course, you really don't care how it plays, and are interested only in what it looks like. 


The Piano World

© Steve Burden