THE

FIFTH EXHIBITION

OF THE

MASSACHUSETTS

Charitable Mechanic Association,

AT FANEUIL AND QUINCY HALLS,

IN THE CITY OF BOSTON,

SEPTEMBER, 1847

The Committee on Musical Instruments and Bells devoted much time to a patient examination of the several Instruments placed in the present Exhibition. It is believed, that the decision has been reached, without prejudice or bias of any sort, and in the spirit of the most entire impartiality. A committee composed of other individuals, might have decided differently ; but the present Committee is unanimous in its views. It is understood, that one member of the Committee, having been necessarily absent from the City when the first examination of the Piano-Fortes was made by the other members, made his own, by himself, reached the same result, and selected the identical Instruments upon which his associates had already determined. This fact served to confirm the other gentlemen in the accuracy of their opinion. Very few Instruments, of any sort, were presented, which were not, in their kind, of a very good quality ; and it is just matter of congratulation, that, in this department of Manufactures, our Country is rapidly becoming, if it be not already, entirely independent of foreign aid.

The various instruments presented, were fifty-five in number, and of the following classes, namely :

The Committee propose to speak of these several classes, in the order in which they are above given.

I. Parlor Organ.

941. JOHN PLYMPTON, Boston. One Parlor Organ. This was a small Instrument, of four stops. The pipes were all of wood. The tone was tolerably smooth ; but it possessed very little power or body.

III. Piano-Fortes.

There were twenty-seven of these instruments, by thirteen different Manufacturers.

The great demand for this popular and useful Instrument, and the greatly-improved capability of the public to judge of a really-good article, have caused a greater degree of attention and care in its manufacturer, in the United States. Not very many years have passed, since we were wholly dependent upon English and German manufactories for our supply ; and the Instruments of Clementi and Broadwood, and of some others of inferior note, were alone to be found, and they, only in the houses of the more wealthy, "like angels' visits, few and far between." Now, the skill and persevering industry of our Countrymen, have released us from dependence on foreign art ; and there are more good Piano-Fortes readily found, than there are good Players. Such is the case with that noble Instrument, the Organ. It is easy for a parish to vote to buy, and to buy ; the expert Builders and good instruments abound. But not in such abundance, are expert, or even respectable Players.

The Committee, however, consider the great abundance of good Piano-Fortes, as a matter of congratulation. The Instrument sustains a most important position, in relation to the Musical Art ; and the great degree of rivalry, which exists between various Manufacturers, if controlled by generous feelings, and not allowed to become a source of personal unfriendliness, will eminently benefit the public, by furnishing, in successive years, Instruments of better and better qualities, and at reduced rates of cost. The supply, too, will increase the number of Players, and so aid in our musical progress ; an object greatly to be desired, as a sure means of improvement in morals, and of refinement in feelings and habits.

In examining the several Instruments submitted to them, the Committee devoted four separate meetings, of several hours each, selecting, for their purpose, the time after the close of the evening exhibition, as that, alone, was free from interior and exterior disturbance and annoyances. The place of the exhibition was peculiarly unfavorable to the operations of a Music Committee. The Lancers' Armory, in which the Instruments were deposited, is at the western end of Quincy Hall, and the most noisy part of a noisy neighborhood. It is, also, at the egress of the Bridge, leading to Faneuil Hall, and was, during the day, thronged with visiters. The moment an Instrument was touched, a crowd of listeners gathered round the Player. This, though a most pleasing indication of the musical propensities of our people, was an obstruction to the Committee, and they were compelled to take the time above indicated, for the examination. That entire freedom from bias, and that all personal partialities, if any existed, might be effectually removed from their minds, they caused the front boards of all the Instruments, upon which the names of the several Makers were given, and the 'Exhibition cards,' upon which those names were written by the clerks of THE ASSOCIATION, to be removed. In justice to the several members of the Committee, they wish this circumstance to be duly noted. Of the names of the several Makers, with the exception of that one Instrument, - the Grand Piano-Forte of Mr. Chickering, (which was the only one of its class exhibited,) - the Committee had no knowledge. In order to distinguish the instruments, in making the awards, they substituted private marks of their own.

In arriving at their decision, they took into consideration certain points, which they deem absolutely essential to every good Instrument. These are, purity, beauty, and power, of tone, and a well-balanced proportion of strength throughout the scale, - a condition generally recognized by the word evenness. Beauty of tone, is always required by the well-practised ear and cannot exist in perfection apart from purity and evenness. The latter two qualities, are somewhat related ; though, perhaps, evenness may exist without purity ; that is, the several strings may give a justly-proportioned degree of sound, and yet that sound not be what the correct ear approves as possessing pureness. Purity is in the quality of the tone, while evenness implies uniformity in the volume of sound thrown out by the string, after percussion. Elasticity of touch is dependent upon an accurate leverage, and just balance of the keys, by which the Performer is enabled to produce, with certainty and quickness, those exact shades of tone, which are essential to correct musical effect and expression, as correct shading is to a fine picture. They are indispensable in each.

865. JONAS CHICKERING, Boston. One Grand Piano-Forte. Deserving priority in rank, and worthy of special commendation, is the Grand Piano-Forte of Mr. Chickering. This noble Instrument reflects the greatest credit upon the celebrated Factory from which it emanated, and is happily indicative of the high degree of success to which this branch of manufactures has attained in our City. It differs from any Instrument exhibited on preceding occasions, inasmuch as it is graduated on a new scale, extending seven octaves upwards, from A in the Bass. The frame-work, below, is of great strength, and is open. The sounding-board, secured to the case, has full room for resonance, both above and below. The strings, which are triple, are sustained upon an iron frame, (first applied to instruments of this class and size by Mr. C.,) having strong braces, likewise of iron, running lengthwise of the whole. There is, also, a brace of iron extending across the Instrument, at right angles to the above braces, and in front of the hammers, through perforations in which, the strings all pass, so that, in addition to its use as a brace, it subserves the purpose of a wrest-pin bridge. Bolts, passing though all the braces, and through the sounding-board, (though not touching the latter,) enter the frame-work below, so that the whole combines all that is requisite to give perfect strength where the very great tension of wire renders it so essential. The dampers, though not of new construction, in this particular Instrument, are of increased size, and therefore of greater efficiency. The tone possesses evenness, purity, power, and brilliancy ; the touch, for an instrument of its class and size, is quick and elastic. As a whole, it is the work of a Master, and worthy of the finger of a Master. The Committee recommend the award of a Gold Medal.

In the examination of the common square Piano-Fortes, the Committee sought for the same qualities of tone and touch, and selected the following, as worthy of special commendation, and to the Makers of each of which they recommend the award of a Silver Medal.

483. HALLETT, DAVIS, & CO., Boston. One Seven-Octave Piano. This Instrument possesses great purity and evenness of tone, a good touch, and pleasing resonance throughout. It may be justly called a first-class Instrument, and would do credit to any manufacturer, here or abroad. Silver Medal.

591. CONRAD MEYER, Philadelphia. Two Pianos. The Seven-Octave is a very fine Instrument, particularly commendable for its elastic and ready touch. In repeated trials, by different hands, the keys never failed of certain repetition in the shake. The tone, throughout, was even, of great beauty and power, from the lowest note to the highest, and the damping was perfect in all cases. Silver Medal

865. JONAS CHICKERING, Boston. Three Pianos, of 6 1/2, and Seven Octaves. To these the Committee apply the same remarks, as to No. 483. Silver Medal.

The next two instruments, possess good qualities ; but were considered inferior in grade to those previously selected. The tone of No. 1124 is pure, but not equal ; and the touch not quite elastic enough. Still, it may well be called a good instrument ; and he who buys it, may be well satisfied with it as such. The same, though not in so full terms, may be said of No. 483, (Six Octaves.)

There were many other good instruments in the Hall., In fact, there was not to be found, what the Committee are willing to call a decidedly-bad Instrument. Some of those not selected for premium, were good, in some qualities ; and the Committee were sometimes embarrassed in the selection, and did not reach a conclusion, till after repeated trials.

They are most happy in being able to award praise to all, for great skill and success in this branch of Art ; and feel confident that greater success will attend upon the continued application of so great skill. They desire to direct the attention of Manufacturers of the Piano-Forte, to the attainment of greater lightness and elasticity of touch. It is in this respect, that the greatest difficulty now exists. The object is worthy of much study, and its attainment must, in a most important degree, aid in the acquisition of skill in the use of the Instrument. In fact, an elastic and light touch, is indispensible to the finished Player. What can he do, if he must contend with an inert and sluggish mass at his fingers' ends?

477. E. HARPER, Boston. Two Pianos.

483. HALLETT, DAVIS, & CO., Boston. One Piano.

729. ORNE & ROBINSON, Boston. Three Pianos.

736. GEORGE LORD, Boston. One Piano.

924. C. W. BARKER, & CO., Boston. One Piano.

931. WILKINS & NEWHALL, Boston. Two Pianos.

969. LEMUEL GILBERT, Boston. Two Pianos. These were placed on a stage in the remote part of Faneuil Hall, at such a distance to render it impossible to compare them with the other Instruments exhibited. Of the two, the smaller was the better.

970. HALLETT, CUMSTON, & ALLEN, Boston. Two Pianos.

1019. WOODWARD & BROWN, Boston. Two Pianos.

1030. SIMON W. DRAPER, Boston. One AEolichord Attachment.

1096. GREW & CHRISTOPHER, Boston. One Piano.

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