THE GREAT EXHIBITION.
Descriptive Analysis of the Contents of
The Crystal Palace.
NUMBER FIVE
MUSICAL INSTRUMENTS.
Concluded.
Piano Fortes
Although the organ is justly considered the king of all instruments, enabling, as it does, a tolerable performer to execute nearly every piece of orchestral music - yet the subject of this division of our analysis has become so familiarized to us, that it is almost impossible to view it in an inferior light. A piano has become a domestic necessity. It is a kind of good fairy that inhabits our hous, and tranquillizes our minds with its soothing lays. Our family are on familiar terms with it, and mutually seek it in happy mood and playful spirit.
In the Great Exhibition of 1851, America gained some distinction for the superior excellence of her pianos. In the Crystal Palace of 1853, the distinction is worthily maintained. The musical instrument department of the American division is particularly rich in pianos. The various Eastern manufacturers, as well as those of our own City, have contributed numerous specimens of their superior handiwork. No instrument is better represente, certainly none other that attracts so much attention from the fair visitors who crowd the aisles of the Palace.
The first idea of the piano-forte was undoubtedly suggested by the ancient psaltery. This instruemnt was similar to the dulcimer, and, according to Mr. HOGARTH, "consisted of a box of small depth, over which was placed a sounding-board of fir, and on this sounding-board were stretched a set of strings, of steel and brass, tuned to the notes of the scale." These wires were struck with little rods held in the hands of the performer. Mechanism supplied a different way of playing on this instrument., Levers were adopted, acted on by keys beneath the fingers of the musician. Instruments of this construction were called clavichords. The principal here illustrated of striking a horizontal string, is attributed to a Germa mechanic, named VIATOR. Being destitute of funds, this ingenious artisan was unable to realize any material benefit from his invention. But to him succeeding generations of musicians owe a debt of gratitude. To improve the quality of tone elicited from the clavichord, the hammer, which was a very imperfect one, was superseded by a quill, and the instrument acquired the name of virginal or spinet. Afterwards the strings were increased to two unisons, and the instrument rechristened a harpsichord. After successive improvements, the happy idea of dispensing with the quill was ably demonstrated. Little hammers covered with leather were contrived to strike the wires, instead of scratching them with the harpsichord contrivance. This instrument was called the piano-forte, in consequence of its capability of producing loud and soft tones, at the will of the player.
The immense improvements which have from tiem to time been adopted in the construction of the instrument have tended to make it the most perfect and beautiful of all musical inventions. It is almost impossible to conceive anything more replete with mechanical perfection than the piano. The chronometer alone furnishes a parallel. The exactness and delicacy which hcaracterize the latter, are equally essential in the former. For manipulated contrivances, the piano is superior to any piece of mechanism with which we are acquainted. In estimating the improvements which have been introduced in the piano, we must also be mindful of the changes affected by it. A new and brilliant school of music has arisen, the professors of which attain their greatest excellency on this instrumetn. Coomposers consult it for every variety of expression. It is, indeed, doubtful whether the greatest masterpieces of the age have not derived much of their perfection from the ready capability of the piano to resolve the thoughts of their authors. Certainly, in the particular of dance-music, the piano may be said to have inspired more than an average number of composers.
In the Crystal Palace, we are furnished with specimens of pianos in four different styles, viz. : the Square, the Cottage, the Cabinet, and the Grand. In this country, manufacturers devote themselves more to square and grand instruments than any other. The difference in these varieties may be popularly explained thus. 1. That the Square pianoforte has the strings horizontal, in a rectangular case, with two strings to each notes, and a compass of 6 3/4 octaves. 2. The Cottage has the strings arranged vertically, reaching nearly from the ground to a short distance above the level of the keys ; the case is much shorter than in the Square, there are two strings to each note, and ordinarily a compass of 6 1/2 octaves. 3 The Cabinet pianoforte is much larger than a Square or Cottage. Like the latter, the strings are ranged vertically, two to each ntoe, but unlike those in the Cottage form, are elevated wholly above the level of the keys. The compass is from 6 1/2 to 7 octaves. 4. The Grand piano-forte is longer than any other, and is similar in shape to the ancient Harpsichord. The keyboard is placed at the wide end ; the strings are horizontal, and instead of two wires, the grand has three to each note. The Square piano-foprte is the one most in use. It is less expensive than any other. The Grand piano-forte is adapted for, and always used,, in the Concert-room. A greater volume of tone, and, as we shall afterwards explain, more delicacy of touch and expression are obtainable from it.
In a familiar article, it is almost impossible to convey a just idea of the mechanical perfections of the piano-forte, even to explain its action. There is such a complexity of arrangement, yet all so beautifully adapted to its end, that we are completely baffled. Instead of wearying our readers with the technical details of the instrument, we will content ourselves with an explanation of such interesting facts as are readily perceptivle, although not generally understood.
The strings of all early piano-fortes were partly of steel and partly of brass ; the treble notes being of the former, and the bass notes of the latter ; - a few of which, in the bass, were covered imperfectly with copper wire, to give them more gravity, according to the length of the sound-board. Modern piano-frtes have steel wire throughout, with about twenty notes in the bass closely wrapped with unwashed copper wire. The strings are also much larger, and are at once more durable and firm in tone. In a grand piano-forte, there are fifteen different thicknesses of wire, and when these are strung to their propper tension, tehy pull equal to a weight of six tons. In the adjustment and regulation of these strings, upwards of a thousand pins or pegs are employed ; each one requiring the most careful exactness in its insertion. To preserve an equal tone throughout the entire compass of the instruemnt, demands the most consummate skill, and to effect it successfully, the stringer must deliberate between three methods of procuring ever single note he may require ; first, by shortening or lengthening the string; second, by increasing or decreasing its thickness ; third, by increasing or decreasing its tension.
In the mechanical "action" of a grand pinao-forte, nearly four thousand separate pieces of wood, ivory, ebony , brass, iron, steel, lead, cloth, felt, leather and vellum are employed. Many of the pieces are nto more than a quarter of an inch square, some even less. On all of them a great amount of ingenuity and labor are bestowed.
The pedals of a piano-forte are connected with much ingenious mechanism. They serve two distinct offices, one of which relates to all kinds of instruments, and the other to those only, which, like the grand piano-forte, are provided with three strings to every note. With regard to the first, all piano-fortes are provided with "dampers." Their use is to preserve the harmonies, and diminish vibration. When a note is struck, it is not usually necessary to prolong the sound after the finger is uplifted from the key. But the blow sets the string in motion, and the sound would be prolonged were it not for the mechanism employed to still it. Hence there is a necessity for a soft hammer or "damper," which falls on the string immediately the finger is withdrawn from the key, and "damping" smothers the note by stopping its vibrations. In slow, sustained and loud music, when it is necessary to prolong the sound as much as possible, these "dampers" are prevented from falling on the string, except at the moment required, by pressing the forte pedal with the foot. Extreme softness may be obtained in the same way, by pressing another pedal, the action of which inserts a soft substance between the hammer and the string, breaking the blow of the hammer, and consequently dimishing the sound of the latter. In grand piano-fortes the same pedals are used, but the action is somewhat different. There is a provision for lessening the quantity of sound, by lessening the number of strings struck by each hamer. This is effected by shifting the entire key-board to a small distance from its usual position, whereby each hammer misses one of the three stirngs and hits the other two. The foot pedal effects the arrangement instantaneously, so that in the most rapid passages the performer may avail himself of its effective aid.
We have endeavored thus far to discuss the popular features of the instrument. But, we have before remarked, it is impossible, in the absence of diagrams, to explain its beautiful mechanism. The superiority of one maker over another, is displayed in the equality and strength of tone, the delicacy and precicion of touch ; the mechanical adjuncts for imparting expression, and other important considerations. Great perfection of mechanical resources are necessary to obtain these results, and to these we direct the attention of all visitors. The exhibitors will gratifu every reasonable curiosity.
In the American Department (Division A, Courts 7, 8, and 9,) the following instruments will amply reward the closest inspection.
1. A French grand=action piano-forte, of 7 1/3 octaves, in double serpentine case of crotches and mottled oak, with carved plinths, an instrument of great beauty, unusual compass, and massive grandeur. Manufactured by WM. HILL & SONS, Broadway.
13. Two square piano-fortes ; one in imitation papier mache beautifully inlaid with mother o'pearl. On the cover is a view of a Venetian palace, and on the pedestal various painting s in prismatic colors and pearl. The keys are of mother o'pearl, and the entire instrument displays a lavish expenditure of costly materials and workmanship. The companion-instrument is in carved rosewood, after the style of LOUIS QUATORZE period without being so showy as its neighbor, it is perhaps the most elegant of the twain. Manufactured by GROVESTEIN & CO., New-York.
18. Square piano-forte. This is an instrument made by GILBERT, of Boston. It has the AEolian attachment and an additional pedal. In all mechanical particulars it is extremely perfect. Exhibited by HORACE WATERS, No. 333 Broadway.
29. Two pianos, square and grand. Carved cases of rosewood. The action in these instruments is very light and ready. They are from the manufactory of HALLETT, DAVIS & CO., Boston, Mass.
54. Seven-octave piano, in rosewod case. The carving consists of scroll work, wreathing round small figures at tthe corners. Design and workmanship of the instrument, chaste and substantial. S. H. SCHOMACKER & CO., Philadelphia.
51. Melodeon, with two sets of reeds ; an extremely beautiful little instrument. PRINCE & CO., manufacturers, Buffalo. Agents - W. HALL & SON, Broadway.
31. Square piano-fortes. Instruments of excellent tone, neatly carved in rosewood, with all the recent improvements. Manufactured by GEORGE HEWS, Boston.
Messrs. BASSFORD, Broadway, exhibited a splendid grand piano. It is placed on a billiard-table in the American department. We are unable to detect it in the Catalogue and cannot, consequently , refer to its number. It is of 7 1/4 octaves, finely carved in rosewood. The tone is massive and pure. It is in every respect a superior concert instrument.
In consequence of the tardiness of manufacturers in sending in instruments for which space has been obtained, we are unable to allude to many others which seem by the Catalogue to deserve especial notice.
In the English department, (Division B, Court 13,) three instruments are exhibited - a grand, cottage , and square. They are all of chaste workmanship. The grand pain-forte is of a sweet and delicious tone, but seems scarcely so powerful as other instruments of its kind exhibited in the American division. This is probably owing to the difference in material requisite for the two countries ; - scarcely to anything else ; for the Messrs. STODDART, of London, who are the manufacturers of these instruments, will compare favorably with any living manufacturers. The square piano-forte is of peculiar action. It is construction on the down-striking principle. Instruments of this description were, we believe, originally made in France. The objection to them is that they are lumbered with parts, and have a heavy and laborious touch. In Messrs. STODDART's adaptation of the principle, it seems possible to obtain a stronger tone, but in other respects thet foregoing objections hold good.
In the French department (Division A, Courts 7, 8, and 9,) is a mechanical piano-forte, exhibited and manufactured by ALEX. DEBAIN, Paris. This should be called a mechanical attachement, as it can be applied and withdrawn from the instrument at pleasure. It is remarkably ingenious, and enables an amateur, who is not a musician, to play the most diffuclt pieces with the greatest precision. This result is obtained by turning a handle, in the same way as on an ordinary street organ. Small plates, reproducing the exact notation of the airs which are wished to be played, are inserted in an appropriate breach, and the tune is executed, or ground out. The attachment can only be applied to upright insturments, although it would not be difficut to extend the inveniton to horizontal ones. AS a curious and pleasing application of mechanism, this piano appliance is worthy of attention. On of its recommendations is that it does not interfere with the ordinary finger-board.
In the same department are several other intruments of more than ordinary merit. A transposing piano, whereby an accompanyist may transfer a piece of music instantaneously, is worthy of particular attention. Ther is another instrument of this description in the Belgian department ; also a mechanical piano-forte, cleverly disguised in a marble-topped table.
The division for the Zollverein and Germany, (Div. B, Court 10), contains several good instruments. We can only direct attention to them. There is one constructed of zebrawood, which is peculiar and noticeable.