THE PIANO CONTEST AT THE GREAT EXHIBITION. [From the " Britannia."]
The increasing interest taken in the merits of the rival pianos exhibited in tliMr several departments in the Palace of Industry, would justify a longer and more analytic article than at present we can make space for, with all our confessed admiration for the entire class of the mo-st elegant, the most domestic, and domesticating and also the most refilling of musical instruments, which the Piano, by universal assent, is allowed to be. Before the '' verdict" of the special jury is lecorded, we shall note our own opinions of the truly superb collection of instalments. They have been examined carefully and cordially, in a spirit wholly free from prejudice or partisanship one way or the other towaids any of the competing exhibitors. So thorough has been our enjoyment of a repeated tour in this section of contnbu ions to the World's Fair, that we felt a desire not only to have hying friends up from all paits of the country to participate in the gratification, but the (lend and departed were thought of aa a " gap in the great feast." How we should have watched the face of Viator could wo have h«id him back fiom the shades, to notice his .•stomshment at the marvellous perfection to winch the piano has been brought since his " first notion" was taken by the hand, by a discerning public. Viator, bejond all question, was the suggooter and intioducer of the squaie piano as a gie.it step m the right direction Iroin Lite clavi-chord. This ingenious?, hut poor and uniequjtpd Gnraan, named with inspect, less than a centuiy since, had his "notion" instantly acted upon by an emulous tioop of rivals in t7ic bade, whose vanoub modifications rpiy -ipoedily superseded the old clavi-
chord and baip i.hoid by th^ veto instrument (a sort of America in musical discovery then;, and christened amid acclamations the Piano-forte ! Germany is th<» country whose title is the best to the leading merit of initiating this elegant and charming instrument. Schroder produced the giand piano, although the Italian* contend that their countryman Christofalli, who used to hawk harpsichords round Padua, was his leader. In England, a German, with a name, the sad rpverse of bi» patronage, wes the first maker cfiiny repute in England. Poor Backers lived and died in poverty, while Zurape his rival, born under a luckier star, retired in alSuence and spent the evening of his life over pots of his beloved " old October,*' and endless clouds of smoke inhaled from a huge pipe, filled with Sir Walter Raleigh's " sublime weed." In respect of form, many are not aware tint the modern " grand" is in the venerable shape of the ancient harpsichord. The square piano retains the form of its antique prototype the clavi-chord, but with a revolutionised action. Leaving the antiquities of pianos to antiquarian*!, we note the existing classification a< exemplified in Hydo Park, in this wonderful year 1851. At the head of all comes the grand piano. * It is the king of instruments, and stands first in the majesty of its class— the lwri~ sovtitl. It affords the greatest and best scope for perfection of mechanism, the highest! susceptibility of touch and tiiumph of tone, combined with elegance of external design. Next comes the semi-grand. This is a two-stringed piano. It is prefened for singing accompanimpnt, and is rcmaikable for sweetness and length of vibration. The object, it is said, of the square piano, was to secure length of string, with lownesi of elevation, thereby adapting it to almost any description of apartment in which vocal accompaniment was in. request. Our next class is the uprights. In tlieir construction the leading objects sought for, are length of string in a still more compact space. What usurped the name of '' upright grands" was an abortive speculation propeily ridiculed out of fai'mn and the market— being a grand piano fantastically turned up ! Jn other words, a horizontal perpendiculansed, and thereby rendered more clumsy, awkward, and " in the way,'' than any of the motley form 9 which pianos have been made to assume under the influence of caprice, or an expeiimenfc upon the public. Cabinets are upright grands cut shorter. The absurd height of eight and nine feet is reduced to six and five. Of all the classes, the upright is the most popular of pianos. The cottage and piccolo are the most numerous. They have superseded the squares. Jt is owing to the extreme economy, both as to space and expense, in the cottage and piccolo, that the groat body of the middle and humbler classes of the people have now at thsir command an efficient and uppiopriato instrument for rendering available the most simple or complicated music, of every country, and by the greatest composers. Another denomination, coming under the class of uprigh's' is the oblique. The stiings run from coiner to corner. This form combines length of string with increase of vibration. Judges consider the oblique to be the first among its class. In perfection it calls for, and admits of, a rare union of all improvements yec made in construction, fullness and delicacy of tone, with powor and susceptibility of touch, inferior, only to the real grßuds and ponderous squares. We need scarcely say to the initiated that there are other " nomenclatures," such as the common-square, semi, find grand-square ; uprights, cottages, or semi-cabinett. Fineness or peculiarity of mechanism, and expense, are the characteristics of such instruments, when produced by regular and accredited houses. Having to some axtent cleared the ground, we nowcome to the point. What is in the Exhibition, as respects pianos, provocative of notice 1 We take the ground of recognised tests, and they resolve themselves into three — tone, touch, and the construction oftba case. The shell or "coffin in which the vital remains of a piano lie interred (till roused into appealing and speaking life by the handling of a Thalberg or a Doehlei), has more to do with the great result than hundreds in the trade suppose. Manufacturers might be classed like the instruments bearing their name, by the fact of their chief aim or success having reference to one or the . other of the cardinal points specified. We take up competitors not necessarily in alphabetic order, but with the consideration due to their admitted standing. What then are the characteristics of Broadwood's contributions? They appear to confine themselves to horizontals. They have four grands, of which one is enriched ebony inlaid with satin wood, after designs by Barry, the architect. Second, a superb walnut, banded with tulip-wood. Two in Amboyna, of which one is carved and gilt in a way which will excita varied criticism. Tested by tone, touch, and masteily excellence of cabinet-work, this firm house, triumphantly sustains its reputation. Collard and Collard have a grand, in a richly-carved case— -pollard-oak and gold. It is elegant and chaste, and in workmanship challenges the scrutiny of rivalry. This house also contributes a grand-square, in carved walnut; a sound instrument. Also a cabinet, in carved oak ; two microchordians— which are in pianos what Chambeis' publications are in the emulousness of cheap literature. The " repetition •action," as it is called, roundness and fulness of tone, with articulate distinctness, indicate the achievements of tnis firm in their cabinets and squares. Erard sends a goodly lot. He is represented in ths foreign and Biitisb depaitment, and enjoys a separate space for his great grand. The writer of this looked mio some seven in the English, and at four or five of of his " wares and merchandise" and vertu, exhibited elsewhere. Erard comes out in grands, cottages and obliques. The grand is in the nave of the Crystal Palac<\ He has an oblique in the Elizahethian style, which is worth a Jew's eye. Why is that in rosewood protected like a nun, by having taken the veil 1 Why conceal coquettisbly such work cuiiously inlaid with silver 1 It reposes on four antique legs ; style, non-desenpt " flange." We avoid going into the illtimed and vexatious controversy as to Erard's claims to a superiority over other rival houses. The real question lies in a nutshell. Was he the first or not, to introduce iron bars in the interior of the mechanism ? Suppose he was, tube 9 preceded him. They were patented by Stoddart. Tubes are preferable to bars ;at all events they suggested the deviation of bars, which have the advantage of resisting the elephant or five-horse power of strain upon the pull of the strings in concert-room, grands, the pull being tremendous. Kirkman exhibits four prize instruments,— -a concert grand, a " Fonda" semi-grand, and oblique, and a miniature model of a grand. The fonda has attracted deserved attention, It has a full rich tone, with felicitous length, of vibration, which vocalists know how to estimate, l'ha oblique is in ebony and gold, and is another proud challenger of ability in the field of the Ciystal Palace. Tlieir " miniature modern grand piano" is the smallest, of the kind over successfully matured. It has the full compass, all the improvements, wilh mechanism obedient to the touch and volition of the most inspired or eccentric player. It goes beyond this : it proves as a success, that the present key-board can be contracted with gain to the effect and harmony of grand pianos. Tlnslittlo piano is the Lilliputian gem of the Exhibition We hope, as admirers of triumphs in their several, walks of competition, that Erard's grand, and the Kirkman's miniature may never leave England, but find a Royal niche in our Sovereign's Palace at Buckingham. It would be injustice to close this notice without commemorating tbe class of eccentrics. A contiibutor gives a trumpet piano. The instrument has an end like a trumpet— made of wood. Joking apart, however, I theie are real points of interest and of curious ingenuity in its droll mechanism. Oihei exhibitois have pianos, which have been locked up since their arrival ; and so resppctfully do the public sympathise witbj or "concur," as the say at Westminster, in the judgement shown therein that none have piled into the secrets of the "locked cabinet," though it were Blue-beard's Chambers of respected mysteiy. There is a <l twinpiano." It is Punch's model carnage — a facetious waggery in the pages of our contempoiary, but here nn exhibited leahsation in whimsicality, by an ad^entuious mechanist. The " table-piano" is another ecceni tncity. It is neither serviceable as a table, nor i musical as a piano. The America depaitment draws notice to a Fiddle piano." By moving a pndal two bows are set in comical motion on a violin. Neit by playing on the keys the violin discourses, if not excellent, most fiddle-de-dee music. The drawbacks are, that wo have no approach to the violin as made ti speak in the soul-stirring hands of a Sivori, Paganini, Ernst, or Blagrove. It is a mechanical scrape-gut, producing the vile pan of the violin, vis played by blind boys for the first time at penny weddings and fairs, without the electrical effects of the '* fiddle," when humanly played upon by nrtists of gpnius, Theiv are two remarkable instruments— as to masterly finishing and novel attempts in the material of key». Tlio one is by Ortzman and Co., the other by Ennevor and Steeilman. Each has motlur of pearl keys and toitoise-shell suaips. The skill and finish of tha woikmanship of the for.nei, by Henry Brooks and Co., Cumbei land-market, entitle that well-known house to the palm ot incut over their closely running competitor iov fame in the mounting Mid acUon-woik of punus o the fust class of art.
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New Zealander, Volume 7, Issue 578, 29 October 1851, Page 3
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1,939THE PIANO CONTEST AT THE GREAT EXHIBITION. [From the "Britannia."] New Zealander, Volume 7, Issue 578, 29 October 1851, Page 3
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