The Early History of the Piano

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

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

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

During these early years, the piano was found only among the very rich and affluent. It was closely associated with culture and refinement, and its survival depended upon generous sponsorship from High Society and Royalty. For the piano to reach the greater part of society, it would have to be manufactured in large numbers and sold at affordable prices.

The piano quickly made its mark on the world of music and was fast becoming a very sought-after musical instrument. Inevitably it attracted the notice of enterprising businessmen who saw an opportunity to make healthy profits. 

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

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

The Piano World

© Steve Burden
Pianology

Piano Makes

Jane Austen mentions a Broadwood piano in at least one of her novels. In her day, pianos were objects of status and the ability to play was proof of a refined education. These things no longer carry the same significance though of course, the dynamics of status are still with us. The objects desired today are smart phones, expensive cars and the latest technological gadgets! 

The Broadwood name is known only to pianists who probably were told long ago that Broadwoods were the best English-made piano. However, such a high opinion of Broadwood Pianos was not universally held - years ago, I remember an elderly tuner say, somewhat unflatteringly: "Ah yes, Broadwood Pianos! The bass is very broad, and the treble very wooden!"    

Quirky English names on elderly pianos can be amusing - especially as in the business world have to be catchy or striking in some way. How about the following: Thompson & Shackle; Jarrett & Gouge; Skerrett; or Dunmo, Ellis & Hill; Duck, Son & Pinker; Dale Forty; Green & Marsh; Wallis Harris; Witton & Witton.

This Macintosh piano has absolutely nothing to do with Apple Computers and I do not imagine that Apple Mac will ever dabble in making acoustic pianos. This is an inexpensive piano made in Edingburgh. Straight strung, over damped, rather tired now, but with a decent enough tone and quite tuneable.

Even when new, this sort of piano was never brilliant, but clearly, they were built well enough to last a very long time.  

Uncomplicated and honest, pianos like these, never pretend to be more than what they are, they just continue doing what they were built for - making music! Thousands of makers put together pianos like this and proudly put their names on the fall-board. Sadly, most are now entirely forgotten. 

There was an old German maker called 'Lubitz' but you don't often see a Lubitz piano here in the UK. One might think a firm called 'Lubitz' made toilet spares!

© Steve Burden 

Piano World