PIANOFORTES IN THE GLASS PALACE. Messrs. Collard, the eminent pianoforte makers, having just completed the instrument made by them for the approaching Exhibition, have invited an inspection of the same before they are placed in the building. Messrs. Collard's contributions consist of five pianofortes, differing in form and construction, but all equal in their respective merits and excellences, The instruments in question range from the cheap michrocordon or cottage, in pine-wood case, French-polished, up to the costly horizontal grand, in which all possible perfection of touch and tone is acquired. The pine-wood michrocordon, being almost the smallest-sized pianoforte made, little larger than the piccolo, is remarkable for its purity and volume of tone and elastic touch--it is, indeed, surprising how an instrument so satisfactory in these respects, and so extensive in compass (6 3/4 octaves), can be produced in so small a space ; while the appearance of the white deal wood, set off by a brilliant coat of French-polish, is light and elegant in the extreme, having almost the effect of satin wood. Another instrument similar to this, but in a more expensive rosewood case, will be exhibited. There will also be a cabinet pianoforte, in a handsome carved oak case in the Louis Quatorze style, especially noticeable for the excellence of its touch and the perfect action of the dampers--two points in which cabinet pianofortes are almost invariably defective--while in tone also it is far superior to the generality of such instruments. Still proceeding in an ascending scale, we next come to a specimen of the square semi-grand pianoforte-- a superior description of grand-square, of both which we believe Messrs. Collard were the originators. The square semi-grand to which we now refer is in all respects a superb instrument. 
The case is of very fine walnut-tree wood, with massive carving, in the Italian style, surrounded by a chain of festoons, and standing on bold trusses. These externals, however, are subordinate to the musical excellence of the interior, which is such as we have never seen attained in any description of instrument short of the horizontal grand. Indeed we have tried many grand pianofortes inferior, in purity of tone, power, and refinement of touch, to this square semi-grand. The last and most important of Messrs. Collard's Exhibition instruments is a specimen of the horizontal grand pianoforte, the most perfect and complete of all the various forms of the pianoforte. This instrument is indeed a chef d'oeuvre. The case, appropriate to the object in view, is constructed of true British oak, elegantly carved and elaborately gilt, somewhat in the style of Louis Quinze period. The compass of the instrument is seven octaves, from A to A. The tone, full, rich, and powerful, in the middle and low notes approaches the grandeur and power of an organ, while we were especially struck with the admirable equality throughout the whole scale, showing that the most elaborate care has been bestowed on the finishing and regularing of the instrument.Messrs. Broadwood have prepared four pianofortes all of the horizontal grand form, but differing in the materials and embellishments of the exterior, and with some variations in the internal mechanism. They are all fine instruments, of the first class as to musical excellence. Two are in cases of Amboyna wood ; one plain ; the other very richly gilt, and remarkable for the beautiful mottled appearance of the grain. This instrument was the only one quite completed, and of which we could judge as to the qualities of tone and touch. These are of the highest order ; the first is a happy combination of that brilliancy--the excess of which in the continental pianos frequently amounts to hardness--and a liquid and singing tone, so necessary for cantabile playing. The touch is firm, yet elastic, and answers readily to the fingers of the player. There is some novelty in the disposition of the metallic bars which cross the sound-board, by which it is expected to counteract the unequal tension of the strings. In short, both this and the Messrs. Collard's instruments seem to have attained the ultimatum of perfection, and leave nothing further to be hoped for or desired.
Another of Messrs. Broadwood's pianofortes is contained in a case of ebony, while for the fourth instrument walnut-tree wood is the material made use of. This latter is a remarkably fine specimen ; the regular appearance of the wavy lines in the grain is eminently beautiful. Doubtless all these instruments are equal in their musical merits, and we anticipate that Messrs. Collard and Broadwood will not only maintain the generally-admitted superiority of English pianofortes in all the essential qualities of substantial manufacture and perfection of tone and touch, but also, if it be possible, advance their already high reputation.The Messrs. Erard, equally celebrated as makers of pianofortes and harps, wiill exhibit in both capacities, and doubly as English and French manufacturers. They will contribute in all somewhere about twenty instruments--seven pianofortes and eight harps from their London house, and the remainder from their Paris establishment. The pianofortes will comprise instruments of various kinds and forms, including specimens of their grand pianofortes, so hightly esteemed by public solo players for their agreeable touch and the clear and distinct brilliancy of tone, the metallic quality of which is well calculated to be heard against orchestral accompaniment.
There will also be specimens of Messrs. Erard's principle of oblique stringing, by which a greater length of string and subsequent tone and power are gained in small upright instruments--one of these being exhibited in a rosewood case, elaborately inlaid with silver. (The Daily News, 28.04.1851)
Among the novelties of adaptation to especial purposes will be noticed double pianoforte, consisiting of two instruments with independent key-boards in the same case, by J. C. Jones and by B. Nickels. Jenkins and Son exhibit expanding and collapsing pianofortes for yachts, the saloons of steam-vessels, ladies' cabins, &c., only 13 1/2 inches from front to back, when collapsed. Addison, Harman, and others exhibit various forms of transposing pianos, which transpose through two or three whole tones without moving the strings, or, as is claimed, affecting the touch. Part of the framing in which the rest pins of pianofortes are inserted is still constructed of wood ; by a recent improvement, specimens of which will be seen in the Exhibition, the framing of that part of the strings which composed the upper octaves is composed of metal at the end of the strings next the rest pins as well as at the opposite end, so that part of the instrument is completely framed in metal, the tension of the strings nowhere depending upon wood. A still further progress has been made in this direction since the instruments hace been completed for the Exhibition, and we have seen a grand pianoforte of the same maker, in which the framiing at both ends of the strings throughout the entire scale is in metal. Another novely of construction is presented in the instrument exhibited by the same makers, under the denomination of the Extra Grand Pianoforte. The object of this is to produce an instrument of increased power and brilliancy , expecially in the lower octaves. With this view the length of the piano is augmented as well as the width of its narrow end. Hitherto each note of the lowest octave of the bass in the horizontal grand pianoforte has been produced by the action of the hammer upon two strings. It was found than in strings of 
such length there was a constant liability of their striking each other, and jarring during their vibration, and this injured the effect of their tone. This defect is removed in the improved instrument by making each hammer of the lowest octave act upon a single string, whose thickness is increased as well as its length. By this expedient, the jar which prevaled previously is effectually prevented, and force and fulness of tone are obtained, which exceed in a striking degree the effect of the instruments of the old construction. Another novelty of construction is an improved method of tuning them. Hitherto the wire has been wound round the rest pins, sometimes called tuning pins, placed at right angles to the direction of the []nd which is turned by the tuning key, so [] off as it is desired to raise or lower the pitch[] system now exhibited the rest pin [] by a nut or female screw, to which [] in which a fixed screw works, The [] to turn this fixed screw, the nut attached to the string is drawn or relaxed, according to the direction in which the key is turned, and thus raises or lowers the pitch. Another novely is the addition of pedals to the grand pianoforte corresponding with the pedals of the organ. In the American department is a double pianoforte, made and exhibited by Pirson, of New York. The shape of the instrument is rectangular, being ten feet two inches in length, and four feet seven inches in width. On a single sounding board it has two sets of strings, which are attached to a metallic framing, which completely surrounds the instrument, having a diagonal plate upon which the ends of the strings most remote from the keys are attached. The performers sit face to face, and four can play simultaneously upon it. 
The mechanism is so regulated that when a single performer plays, the same effect is produced as if the second set of keys and strings were absent. (News of the World, 11.05.1851)
M. Erard exhibited some fine pianos, the best indeed in the French department ; and yet, to those accustomed to the "linked sweetness" of New York and Boston instruments, his finest tones seemed crude and undeveloped - whether it were a popular delusion or not, we cannot say ; as we do not pretend to judge very critically of music, but there WAS an impression current, throughout England, that the finest piano fortes in the musical world, were manufactured in London : and when the French pointed to Erard, as a maker of celebrity, Mr. Bull disputed the claim very irresistibly, by, in the first place, denying the superiority ; and, in the second, admitting it, for argument's sake, and then proving to demonstration, that this so vaunted artist, had served his apprenticeship to an English house.