Musical instruments. - Last year was a signally propitious one for the section of musical instruments, which received from a single source, as described below, a much more extensive and far richer addition to its collection than ever before. The other accessions comprised a reed hand organ and a pianola with six music rolls, the gift of Mrs. Julian James, of Washington ; a musical instrument, supposed to be Javanese, contributed by Mrs. John Crosby Brown, of New York ; three violins used by G. Napoleone Carozzi, donated in his name by his widow, Mrs. Mary W. Carozzi, of Portland, Oreg. ; and an old Maya drum, called Sacatan, presented by Mr. Arthur P. Rice, of Brookline, Mass.
The important contribution first referred to was a gift from Mr. Hugo Worch, of Washington, of a large series of antique pianos of both foreign and American make, including a number of examples manufactured during the latter part of the 18th century. It was about 25 years ago that Mr. Worch began the assembling of these instruments, with the view of preparing a history of the American pianoforte ; and in order to secure to the public the permanent preservation of these valuable objects, which have been gathered without regard to time or expense, he generously tendered to the Museuym the entire collection or such a part of it as could be accommodated. In the selection that is being made, special attention is paid to those items of native makers whose reputations are closely linked with the progress and development of the American pianoforte industry. They illustrate particularly the important steps that have been taken, with such intermediate graduations as seem most worthy of being represented. During the year the installation has been steadily progressing, the first gallery in the rotunda of the new building having been assigned to this puurppose. Seventy instruments have already been definitely selected, though not all of these had been delivered at the close of the year. As Mr. Worch has desired to have the cabinet work of all restored as nearly as possible to its original condition, it will be realized that some time must elapse before the entire selection will be kept on view, whether restored or not. While only a few of the instruiments remain in a playing condition, the mechanical parts are all sufficiently well preserved to demonstrate their character and variations.
To the instruments themselves will be added several hundred photographs, showing every phase of the pianoforte industry prior to 1850, making the collection the largest and most unique of its kind.
By this generous and public-spirited gift, Mr. Worch has made himself one of the notable benefactors of the Museum, and especially in a line in which the Museum has been particularly deficient. The public can scarcely fail to realize the significance of his donation, not consisting of isolated objects, however valuable they might be, but of a definite and well-ordered collection, illustrating by actual examples the history of an industry dear to the hearts of all civilized peoples.
We must wait upon Mr. Worch for a detailed account of his studiies and his collection. Below is given a list of the instruments referred to, of which 46 are American and 24 European. It has been prepared from a preliminary catalogue furnished by the donor, and while neither descriptive nor comparative, it contains a few remarks of general interest. The foreign pianos have been allowed to precede those of American make as they furnish earlier dates, but in most cases it has been impossible to fix the dates with absolute definiteness. The foreign instruments are from Germany, and from Vienna Austria; London, England ; and Paris, France. The American are from Philadelphia, New York City, Baltimore, Boston, Cincinnati, Norwich, Conn., and Concord, N.H.
The list is as follows:
Germany and Austria. - A German square piano, maker's name unknown, about 1770 ; the instrument, which is richly inlaid and in fine condition, is a rare specimen of its class of work. L. H. Mueller, Bremen, German hammer clavier, No. 83, about 1785 ; a good type of German squares made at that time. Martin Seüffert, Vienna, upright piano, about 1812 ; pianos of this type, because of their peculiar shape, were known as "Giraffe Grand" ; the maker gives notice on the name plate that this instrument was invented by him. Harmonium of unknown German make, about 1825. Andre Stein, Vienna, square, about 1833 ; Viennese action, of which Johann Stein, father of Andre, was the inventor. The two most popular foreign instruments in this country from 1825 to 1840 were those of Stein of Vienna, and Rosenkranz of Leipzig. Stein's reputation in Europe was proverbial for the excellence of his work, and the importation of Stein insturments into the United States exceeded that of any other foreign make.
London, England. - Longman & Broderip, two examples, both square, one about 1785, the other, No. 424, finished in 1796, the former being one of the earliest types of this establishment which was founded by James Longman in 1767. Lodiner, square , about 1785 ; the name is doubtless fictitious. Cr. Ganer, square, No. 456, about 1788 ; an excellent example of one of London's pioneer piano makers. Culliford, Rolfe & Barrow, two square pianos, one about 1790, the other about 1795. Robert & William Gray, square, about 1795. Johannes Broadwood, square, finished in 1798. The style of action shown by this instrument, mop stick with individual brass dampers for each key, was copied by both Albrecht and Taws of Philadelphia in their earlier pianos, and they were perhaps the only American makers to adopt this system of damping. John Broadwood & Sons, makers to His Majesty and the Princesses, square, No. 420, about 1805. William Southwell, square, about 1805. This maker was noted for his many innovations in piano construction. Astor & Co., square, No. 3243, about 1805. This firm was founded by George Astor at the beginning of the 19th century, and also dealt in brass instruments. Clementi & Co., square, about 1810. Thomas Tomkison, maker to His Royal Highness, the Prince of Wales, square, about 1810. Wilkinson & Wornum, Upright, No. 17, about 1810 ; one of the first small English uprights made. Robert Wornum, upright, about 1816. Wornum was the first to introduce the small upright, named by him the "piccolo." He was one of England's leading inventors, and many ingenious devices attributed to him were adopted by both foreign and American piano manufacturers. Dale, Cockerill & Co., upright, No. 455, about 1825. Collard & Collard, square, about 1835.
Paris, France. - Erard Frères & Co., square, finished in 1799 ; a choice example by these famous piano makers. A. C. Debain, about 1848 ; player piano without a keyboard, being operated with a hand lever, and the music being made on short boards into which steel pins are driven.
Philadelphia, Pa. - Charles Taws, two square pianos, one about 1790, the other, No. 22, finished in 1793, the latter showing notable improvement in workmanship over the former ; continued piano making until 1833. Charles Albrecht, two square pianos, the first , No. 21, about 1790, the other about 1792 ; best known of the pioneer instrument makers in this country, and the examples in this collection show superior skill ; retired in 1824. John Sellers, square, about 1794. This instrument is perhaps the only American make containing the rudimental German action, all early piano makers of this country having copied the English models. There is a doubt as to whether this instrument was actually the work of John Sellers, as its primitive construction antecedes any known American make. Harper & Fagan, square, about 1798. Thomas & John Loud, square, No. 80, about 1818. The name stencil reads : "square and grand pianoforte manufacturers, from London." Unlike most other makes of that time, the case is substantially constructed. Emelius N. Scherr, square, No. 2, about 1825. Scherr made pianos until 1852, and his instruments were noted for thier general good workmanship and durability. On some he added to his name: "Late Maker to their Majesties, the King and Princess of Denmark." Conrad Meyer, square, No. 240, about 1827. This maker is said to have been the first who succeeded in casting a full iron fram, in 1832, though there has been some controversy regarding this fact. He received a second prize at the great London Exhibition of 1851. Meyer pianos were made as late as 1888, at 1717 Chestnut Street, the business having been continued by the two sons of Mr. Meyer. Loud & Brothers, square, No. 912, finished December 3, 1830. The Louds were the most reputed piano makers of Philadelphia. D. B. Grove square, about 1830. Alpheus Babcock, square, No. 1517, made at William Swift's pianoforte factory, Philadelphia, about 1835. This is a creditable example of Babcock's superior skill. It contains the iron frame patented by him in 1825, and well illustrates the advantageous use of iron to resist the tension of the strings, which are all intact, and to precent the twisting or warping of the woodwork.
New York City. - John Geib & Son, square, about 1800. John Geib was the head of this well known family of piano makers, which was connected with the piano business until 1870. Waites & Charters, square , about 1805. This was one of New York's pioneer firms, coming from London. John Kearsing & Sons, square, about 1808 ; one of the best preserved instruments of the early part of the 19th century. The Kearsing family was affiliated with the piano industry until 1857, and consisted of John, senior and junior, George and Thomas. Samuel Neilson, about 1814, built on square lines. Robb & Mundy, square, about 1824 ; a neat and well made instrument. William Geib, square, No. 6662, about 1825 ; an exquisite piece of workmanship. Robert & William Nunns, three examples, namely, square, about 1826 ; upright, No. 1223, about 1833 ; upright, No. 1444, about 1840. Considered among the leading manufacturers of their period, and received a second prize at the great London Exhibition of 1851, where they also exhibited a square piano with an overstrung scale. No. 1223 is one of the first small, or piccolo , uprights made by an American firm. Dubois & Stodart, square, No. 243, about 1830. Joseph Kohnle, upright, about 1858 ; action constructed on entirely new lines and every individual part wholly original. Kohnle advertised himself as a pianist in 1856-57, and as a piano maker in 1858. An instrument similar in appearance, made by Pape, Paris, in 1839, is exhibited at one of the museums in Copenhagen. Carhart, Needham & Co., double-bank melodeon, No. 4407, about 1858.
Baltimore, Md. - Walker, square, about 1811. He was the second piano maker of Baltimore. James Stewart, two examples, both square, the earlier, No. 275, finished June 2, 1812, the later about 1814 ; also made organs and upright pianos. Joseph Hiskey, two examples, both square, one, No. 53, about 1820, the other about 1828. Hiskey, who advertised that he was a piano maker from Vienna, carried on this business in Baltimore from 1819 to 1845. James Jenkins, square, about 1825. George Huppmann, three examples, all square, with dates about 1829, 1832 and 1836. The last is one of the most ornate suqare pianos made in this country, and is in excellent condition. Joseph Newman, square, about 1829. J.J. Wise & Brother, two examples, a square piano, about 1838, and an upright, about 1840. This firm manufactured pianos in Baltimore for a period of over 30 years, and became known for its excellent instruments. Anthony Kuhn, square, about 1842. Not the work of Kuhn, but made in Austria for his trade, a common practice at that period. J. & E. R. Newman, square, about 1846.
Boston, Mass. - John Osborne, square, No. 307, about 1822. Eben. Goodrich, square, about 1824. Stewart & Chickering, square, about 1824. James Stewart was considered the leading piano maker of Baltimore from 1812 to 1817, and also manufactured in Philadelphia previous to locating in Boston. Alpheus Babcock, two pianos, both square, about 1825 and 1828, respectively. The latter is a beautiful example of the handicraft of this highly reputed maker. The earlier square pianos of Babcock remain the most tastefully and neatly constructed of all these instruments.
Miscellaneous. - A. Reuss, Cincinnati, Ohio, square, about 1832 ; one of the most picturesque types of instruments of the larger form. Reuss announced himself as a piano maker from Vienna. Walker's patent swell seraphine, Norwich, Conn., about 1840. Austin & Dearborn, Concord, N. H., melodeon, piano style, about 1844.