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diff --git a/29280-h/29280-h.htm b/29280-h/29280-h.htm new file mode 100644 index 0000000..5d17ca1 --- /dev/null +++ b/29280-h/29280-h.htm @@ -0,0 +1,1932 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of How The Piano Came To Be, by Ellye Howell Glover. + </title> + <style type="text/css"> +body { + margin-left: 10%; + margin-right: 10%; +} + +h1,h2,h3,h4,h5,h6 { + text-align: center; + clear: both; +} + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + +hr { + width: 15%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + color: #BDBDBD; +} + +hr.hr2 { + width: 10%; + margin-top: 2.5em; + margin-bottom: 2.5em; + clear: both; + color: #BDBDBD; +} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 95%; + font-size: smaller; + text-align: right; + color: #C0C0C0; +} + +.center {text-align: center;} + +.center2 {text-align: center; font-size: 95%; margin-bottom: -.5em;} + +.smcap {font-variant: small-caps; text-align: center;} + +.caption {font-variant: small-caps; text-align: center; margin-top: 1px;} + +.image {text-align: center;} + +.block {margin: auto; text-align: center; width: 35%;} + +.poem { + margin-left: 1em; + margin-right: 1em; + margin-top: 1.5em; + margin-bottom: 1.5em; + text-align: left; + font-size: 96% +} + +.poem span.i4 {margin-left: 2em;} + +h2.chapter {font-size: 145%; padding-bottom: 0.75em;} + +h2.chapter3 {font-size: 165%; padding-bottom: 1em; padding-top: 1em;} + +h3.chapter2 {font-size: 125%; font-variant: small-caps; padding-bottom: 1em;} + +.u { + border-bottom-style: double; + border-bottom-width: 7px; + border-bottom-color: #000000; + margin-left: 14em; + margin-right: 14em; +} + +.dropcap { + float: left; + font-size: 310%; + line-height: 77%; + padding-right: 2px; + padding-bottom: 1px; + width: auto; +} + +.upper {text-transform: uppercase;} + +.tnote { + border-style: double; + border-width: 6px; + padding: 1em; + background: #FFFFFF; + text-align: left; + margin-left: 15%; + margin-right: 15%; + font-size: 95%; + border-color: #000000; +} + +table {margin-left: auto; margin-right: auto;} + +.minispace {margin-bottom: 1em;} + +.microspace {margin-bottom: .5em;} + +.nanospace {padding-bottom: .25em;} + +.border2 { + border-style: solid; + border-width: 2px; + background: #FFFFFF; + border-color: #000000; + margin: auto; +} + +.border3 { + border-style: double; + border-width: 6px; + background: #FFFFFF; + border-color: #000000; + margin: auto; +} + +.gesperrt {letter-spacing: .1em; font-weight: bold; padding-left: .1em;} + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's How the Piano Came to Be, by Ellye Howell Glover + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: How the Piano Came to Be + +Author: Ellye Howell Glover + +Release Date: July 1, 2009 [EBook #29280] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK HOW THE PIANO CAME TO BE *** + + + + +Produced by Meredith Bach and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + +</pre> + + + +<div class="u"> </div> +<div class="u" style="border-bottom-style: solid; border-bottom-width: 3px;"><h1>HOW THE PIANO CAME TO BE</h1></div> + +<div class="minispace"> </div> +<div class="minispace"> </div> +<div class="image" style="margin: auto;"> +<a name="ifrontis" id="ifrontis"></a><a href="images/ifrontis_full.jpg"><img src="images/ifrontis.jpg" width="406" height="600" alt="UPRIGHT HARPSICHORD +From the Metropolitan Museum of Art, New York City" title="" /></a><br /> +<span class="caption" style="font-variant: normal;">UPRIGHT HARPSICHORD<br /> +(<i>From the Metropolitan Museum of Art, New York City</i>) +</span> +</div> +<div class="minispace"> </div> +<div class="minispace"> </div> + +<hr /> + +<div class="border3" style="width: 500px; height: 690px;"> +<br /> +<h2>HOW THE PIANO<br /> +CAME TO BE</h2> + +<hr style="width: 100%; color: #000000;" /> +<h3><small>BY</small><br /> +ELLYE HOWELL GLOVER</h3> + +<hr style="width: 100%; color: #000000;" /> +<h4>ILLUSTRATED</h4> +<br /> +<div class="image border3" style="width: 111px; height: 175px; margin: auto;"> +<img src="images/ititle.jpg" width="111" height="175" alt="" title="" /> +</div> + +<hr style="width: 100%; color: #000000;" /> +<h3><small>CHICAGO</small><br /> +BROWNE & HOWELL COMPANY<br /> +<small>1913</small></h3><br /> +</div> + +<div class="minispace"> </div> +<hr /> +<h4>COPYRIGHT, 1913<br /> +BY BROWNE & HOWELL COMPANY</h4> +<hr style="width: 5%; margin-top: .5em; margin-bottom: .5em;" /> +<h4 style="font-size: 95%;">PUBLISHED, OCTOBER, 1913</h4> + +<div class="minispace"> </div> +<h5>THE·PLIMPTON·PRESS<br /> +NORWOOD·MASS·U·S·A</h5> + + + +<hr /> +<div class="minispace"> </div> +<h2>LIST OF ILLUSTRATIONS</h2> +<div class="minispace"> </div> + +<div class="center"> +<table border="0" cellpadding="4" cellspacing="0" summary="table of contents" width="50%"> +<tr><td align="left">Upright Harpsichord</td><td align="right"><a href="#ifrontis"><i>Frontispiece</i></a></td></tr> +<tr><td align="left">Clavicytherium or Upright Spinet</td><td align="right"><i>Facing page</i> <a href="#i012a">12</a></td></tr> +<tr><td align="left">Clavichord</td><td align="right"><a href="#i012b">12</a></td></tr> +<tr><td align="left">Spinet</td><td align="right"><a href="#i016a">16</a></td></tr> +<tr><td align="left">Queen Elizabeth's Virginal</td><td align="right"><a href="#i016b">16</a></td></tr> +<tr><td align="left">Double Spinet or Virginal made by Ludovicus Grovvelus</td><td align="right"><a href="#i020">20</a></td></tr> +<tr><td align="left">Clavichord made by John Christopher Jesse</td><td align="right"><a href="#i024">24</a></td></tr> +<tr><td align="left">Dulcimer</td><td align="right"><a href="#i028">28</a></td></tr> +<tr><td align="left">Christofori Piano</td><td align="right"><a href="#i032">32</a></td></tr> +<tr><td align="left">Piano made by Matthäus Andreas Stein</td><td align="right"><a href="#i040">40</a></td></tr> +<tr><td align="left">Piano made by Benjamin Crehore</td><td align="right"><a href="#i048">48</a></td></tr> +<tr><td align="left">Piano made by Charles Albrecht</td><td align="right"><a href="#i050">50</a></td></tr> +<tr><td align="left">Piano, Primitive German Action</td><td align="right"><a href="#i052">52</a></td></tr> +<tr><td align="left">A Stodart Piano</td><td align="right"><a href="#i056">56</a></td></tr> +</table></div> +<div class="minispace"> </div> + + + + +<hr /> +<div class="u" style="margin-left: 20em; margin-right: 20em;"> </div> +<div class="u" style="border-bottom-style: solid; border-bottom-width: 3px; margin-left: 20em; margin-right: 20em;"><h2>HOW THE PIANO CAME TO BE</h2></div> + +<div class="minispace"> </div> +<div class="minispace"> </div> +<h2 class="gesperrt"><i>How the Piano<br /> +Came To Be</i></h2> +<div class="microspace"> </div> + +<p><span class="dropcap">F</span><span class="upper">rom</span> the dried sinews stretched<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> +across the shell of a dead tortoise +to the concert-grand piano of the +present day is a far flight. Yet to +this primitive source, it is said, may +be traced the evolution of the +stringed instrument which reached +its culmination in the piano. The +latter has been aptly called "the +household orchestra," and in tracing +its origin one must go far back into +the annals of the past. If we accept +the Bible as history, and it is the +greatest of all histories, the stringed +instrument is of very ancient date. +It is recorded that the ambassadors<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> +who came to the court of Saul +played upon their <i>nebels</i>, and that +David, the sweet singer of Israel, +wooed the king from his sadness by +singing to his harp. We must go +back to the civilization of ancient +Egypt, more than five hundred +years before that morning nearly +two thousand years ago when, it is +written, the angelic choir chanted +above the historic manger the glorious +message, "Peace on earth, good +will to men," and the morning stars +sang together.</p> + +<p>In the olden times the Greeks +laid claim to everything which bespoke +culture and progress. The +pages of ancient history record no +other one thing so persistently as +"the glory that was Greece." And +so they tell of the time when<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>—</p> + +<div class="block"> +<div class="poem"> +"Music, heavenly maid, was young,<br /> +And yet in ancient Greece she sung!"<br /> +</div></div> + +<p>It is now generally conceded, however, +that it was not in Greece but +in ancient Egypt that art, music, +and the sciences in general were +born. That the Egyptians had +stringed instruments is unquestionable. +Away back in the year 525 +<span class="smcap">B.C.</span> Cambyses subdued the land. +He overthrew the temples in the +ruins of which have been found +the records of musical instruments +dating from the very earliest times. +But the priests who guarded the +temples were slain, and every vestige +of what might have helped to determine +the origin of the stringed +instrument, out of which, later, the +piano was evolved, as well as the +names of those who wrought and<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span> +endeavored to construct instruments +which would give forth music, was +forever lost.</p> + +<div class="minispace"> </div> +<div class="image border2" style="width: 590px; height: 513px;"> +<a name="i012a" id="i012a"></a><img src="images/i012a.jpg" width="590" height="513" alt="Clavicytherium or Upright Spinet" title="" /> +<span class="caption">Clavicytherium or Upright Spinet</span> +</div> + +<div class="minispace"> </div> +<div class="microspace"> </div> +<div class="image border2" style="width: 590px; height: 516px;"> +<a name="i012b" id="i012b"></a><img src="images/i012b.jpg" width="590" height="516" alt="Clavichord" title="" /> +<span class="caption">Clavichord</span> +</div> +<div class="minispace"> </div> +<div class="minispace"> </div> + +<p>For lack of written authority, then, +one must turn back to tradition for +light upon the origin of the piano. +Tradition says that Ham, or one of +his sons, led the first colony into +Egypt. In fact there is a legend +that Noah himself once dwelt there +and some historians have identified +him with the great deity of the +Egyptians, Osiris. To Hermes, or +Mercury, the secretary of Osiris, is +ascribed the invention of the first +stringed instrument. The story is +that Hermes was walking one day +along the banks of the Nile. It was +just after one of the great inundations. +The Nile had overflowed its +banks and the land had been sub<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span>merged. +But now the water had +subsided, and as Hermes walked +along the shore, his foot struck accidentally +against the shell of a dead +tortoise. Across the inside of the +shell the dried sinews were tightly +stretched. Hermes picked it up and +touched the sinews with his fingers. +He was amazed to hear the sweet +tones which the picking of the +strings produced. He set to work +to make a musical instrument, using +the shell of a tortoise for the body +and placing strings across it. In +substantiation of this legend we find +in examining the lyre of the ancient +Greeks that almost every one was +ornamented with a tortoise. We +find also in the records of the Hindus, +the Chinese, the Persians, and +the Hebrews that these people had<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> +stringed musical instruments at a +very early date and that the most +common among them was the lyre +in its various modifications.</p> + +<p>The famous sepulcher of Rameses +III is elaborately ornamented with +harps. Specimens of this instrument +have been found also in excavations +made in comparatively recent +years. In 1823 Sir J. G. Wilkinson +discovered in an old Egyptian tomb +a harp which, despite the fact that +three thousand years had gone by +since it had been put to sleep beside +its royal master, was in an excellent +state of preservation. The strings +were of cat-gut and were in marvelously +good condition. The custom +which the Egyptians had of portraying +their daily life upon their city +walls, their temples, and tombs has<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> +been of incalculable value to the +antiquarians in search of authentic +information. From the pictures +which ornament these temples and +tombs we have learned that the harp +and the lyre were the favorite instruments +of the Egyptians, and these +carvings alone furnish indisputable +proof of their use by these people.</p> + +<p>But all the research which man, +thus far, has been able to make has +not revealed just who it was that +first discovered music in a lifeless +instrument. This fact will always +be deeply veiled in mystery. All +attempts to unravel the threads have +failed. None knows yet just who +they were who first</p> + +<div class="block" style="width: 38%;"> +<div class="poem"> +"Struck the chorded shell,<br /> +And, wondering, on their faces fell<br /> +To worship the celestial sounds.<br /> +Less than a God they thought there scarce could dwell<br /> +Within the hollow of that shell<br /> +That spoke so sweetly and so well."<br /> +</div></div> + +<p>Just how many strings Hermes<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> +had on his tortoise-shell instrument +is a much disputed question. Some +say there were but three and that +they represented the three seasons—spring, +summer, and winter—into +which it was the custom of the +Greeks to divide their year. Some +authorities claim that the strings +numbered four. Others say there +were seven. No one knows. The +Greek harp was played by picking +the strings with the fingers or with +a plectrum. The latter was a small +piece of bone or metal, held in the +fingers, with which the strings were +snapped. Sometimes a short piece +of wood was used to strike the +strings.</p> + +<div class="minispace"> </div> +<div class="image border2" style="width: 580px; height: 504px;"> +<a name="i016a" id="i016a"></a><img src="images/i016a.jpg" width="580" height="504" alt="Spinet" title="" /> +<span class="caption">Spinet</span> +</div> + +<div class="minispace"> </div> +<div class="microspace"> </div> +<div class="image border2" style="width: 580px; height: 501px;"> +<a name="i016b" id="i016b"></a><img src="images/i016b.jpg" width="580" height="501" alt="Queen Elizabeth's Virginal" title="" /> +<span class="caption">Queen Elizabeth's Virginal</span> +</div> +<div class="minispace"> </div> +<div class="microspace"> </div> + + +<p>A step forward in the evolution of<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> +the stringed instrument was made +during the Middle Ages when the +psaltery became popular. It consisted +of a box with strings across +it, and records for us the first attempt +at a sounding board. This was followed +by the dulcimer, which closely +resembled it but was somewhat +larger. A plectrum was used to +play them both.</p> + +<p>A very good idea of the psaltery +and dulcimer may be obtained +from the xylophone. This instrument +has bars of wood or metal +which are struck with a wooden +mallet. The keyboard was invented +in the eleventh century. It was +applied first to an instrument called<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> +a clavier and later to the organ. +The first stringed instrument to +which this new device was applied +was the clavicytherium, or keyed +cithara. It had a box with a cover +and strings of cat-gut, arranged in +the form of a half triangle. It was +made to sound by means of a quill +plectrum attached in a rude way to +the end of the keys. This was the +progress the piano of today had +made in the thirteenth century.</p> + +<p>Next in order of development +comes the monochord, clarichord, or +clavichord, the latter being the name +by which it is generally known. As +it was the instrument most used +during the six centuries which followed, +it is worthy of close study. +In shape it much resembled a small +square piano without frame or legs.<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> +The strings were of brass, struck +by a wedge made of the same +metal which was called a tangent. +It was capable of soft tones only, +but they were very sweet and melancholy. +The elder Bach loved this +instrument. He did not take kindly +to the piano which was about to +supplant his beloved clavichord. One +regrets that he could not have lived +to have seen it perfected. In playing +the music written by Bach we +must remember that he wrote entirely +for the clavichord. The instrument +he used was, without doubt, +the product of Italy, as during this +time the Italians led all Europe in +the arts. At a later period the +clavichord was copied by the Germans +and Belgians. It was used by +them for centuries on account of its<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> +simple construction and low price. +Mozart always carried one with him +as part of his baggage when traveling. +The virginal, spinet, and harpsichord +followed the clavichord in +rapid succession, considering that +the last named instrument had +been in favor for such a long time, +with seemingly no attempt at improvement. +All of these three +instruments had strings of brass, +with quill plectra attached to +pieces of wood. These were called +"jacks"—a name still used today +in making up the action of the +piano.</p> + +<div class="minispace"> </div> +<div class="image" style="margin: auto;"> +<a name="i020" id="i020"></a><a href="images/i020_full.jpg"><img src="images/i020.jpg" width="590" height="433" alt="Double Spinet or Virginal made by Ludovicus Grovvelus +Flanders, 1600" title="" /></a><br /> +<span class="caption">Double Spinet or Virginal made by Ludovicus Grovvelus +Flanders, 1600</span> +</div> +<div class="minispace"> </div> + + +<p>The virginal and spinet were +almost identical with each other, +but the harpsichord was larger and +occasionally was built with two +keyboards. There are several ex<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>planations +as to why the virginal +was so called. One is that it got +its name from its association with +hymns to the Virgin. Another is +that it was thus called in honor of +Elizabeth, the Virgin Queen. We +may accept whichever theory best +suits us, but history records that +both Elizabeth and Mary of Scotland +were proficient in its use and that +it was the favorite instrument of +Henry VIII. Items for repairs and +for instruction in playing the virginal +appear frequently in the royal +expense book, showing conclusively +that His Majesty was not unmindful +of such accomplishments. Four +octaves was the range of these old +instruments, from the second added +line below in the bass to the second +added line above in the treble.<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> +There was but one string to each +note, and one can well understand +why a writer of that period describes +the tone as "a <i>scratch</i> with +a <i>sound</i> at the end of it." Queen +Elizabeth's virginal is still preserved +at Worcestershire. It is a most +elaborate creation, having a cedar +case ornately covered with crimson +velvet and lined with yellow silk. Its +weight is only twenty-four pounds. +Gold plate covers the front. Thirty +of its fifty keys are of ebony with +tips of gold. The semitone keys +are inlaid with silver, ivory, and various +woods, each key being composed +of two hundred and fifty pieces. +The royal arms are emblazoned upon +the case. The Queen's virginal instruction +book is also carefully kept, +one of the many silent records of<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span> +the accomplishments of this gifted +and brilliant woman.</p> + +<p>The instrument which belonged, +once upon a time, to Mary Queen +of Scots was not quite so gorgeous. +Its case was of oak inlaid with cedar, +but it was ornamented with gold +and had rare paintings on the case. +It was customary to employ the +best artists to decorate these instruments, +as this greatly enhanced +their value. There is a story that +Salvatore Rosa, on a wager, made +his almost valueless harpsichord +worth a thousand scudi by painting +a landscape with figures upon the +lid.</p> + +<p>In July of the year 1701 the +London <i>Post</i> had an article relating +to virginals which reads: "This +week a most curious pair of virginals,<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> +reckoned to be the finest in England, +was shipped off for the Grand +Seigneur's seraglio."</p> + +<p>Old Pepys, in his diary, gives a +description of the great fire in London +which occurred in 1666, in which +he says: "The river was full of +lighters and boats, taking in goods, +<i>good</i> goods swimming in the water; +and only I observed that hardly +one lighter or boat but that there +was a pair of virginals on it." The +word "pair" as it is used then had +no more meaning than when we +now say "a pair of scissors." This +extract shows that the instrument +must have been almost as commonly +used as the piano of our day. In +Shakespeare's time it was customary +to have a virginal in a barber shop +for the entertainment of customers, +probably to beguile the weary moments +while they waited for the +barber to say "next."</p> + +<div class="minispace"> </div> +<div class="image border2" style="width: 590px; height: 461px;"> +<a name="i024" id="i024"></a><img src="images/i024.jpg" width="590" height="461" alt="Clavichord made by John Christopher Jesse, Germany, 1765" title="" /> +<span class="caption">Clavichord made by John Christopher Jesse, Germany, 1765</span> +</div> +<div class="minispace"> </div> +<div class="microspace"> </div> + +<p>In shape the spinet resembled the<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> +harp placed horizontally in the +framework. A very good example +may be seen at the South Kensington +Museum in London. It was +made by Rossi, a celebrated manufacturer. +The Metropolitan Museum +in New York has rare specimens of +the harp which were given by the +late Mr. Drexel, of Philadelphia, who +purchased them in Europe. There +are two theories as to the origin of +the name "spinet." One is, that it +was taken from Spinetti, a Venetian +who invented the oblong form of +the case. The other is that the +strings were made to vibrate by +the points of a quill, and that the<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> +word "spinet" came from thorn or +point.</p> + +<p>In tone the spinet was usually a +fifth higher than that of the harpsichord, +which came into favor during +the eighteenth century. The latter +was almost exactly like our grand +piano, only very much smaller. To +Italy has been accorded the honor +of its origin, also, away back in the +fifteenth century. It was not commonly +used, however, until about +1702. A harpsichord on exhibition +at the South Kensington Museum +in London bears the date of 1521. +A step towards the present-day construction +of the piano is shown by +the fact that there were always two +wire strings to each note and sometimes +three or four, and that it had +a keyboard covering five octaves.<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> +It was like an organ in that it had +register stops and sometimes a double +keyboard.</p> + +<p>Hans Ruckers, of Antwerp, was +the most celebrated maker of the +harpsichord in those days. One of +his best specimens belongs to the +Drexel collection in New York. Handel +delighted in his Ruckers harpsichord +and gave it preference over +all others, which is adequate proof +of its superiority. It was his pleasure +to play upon it long after his +failing eyesight forbade the use of +notes. He had to improvise entirely, +but was so expert that the orchestra +with whom he played was often +diverted by his wonderful accompaniments. +This partiality was resented +by the soloists and one of +them told Handel that if he ever<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> +played him such a trick while he +was singing, he would jump down on +his harpsichord and smash it. This +amused Handel immensely and he +exclaimed, "You vill jump, vill you? +Varey well, sare. Be so kind und +tell me ven you vill jump, und I vill +advertise it in der bills." We are +told that every key of Handel's +instrument was hollowed like the +bowl of a spoon, so incessant was his +practice. One very lovely harpsichord +still in existence has its history +veiled in mystery, but the supposition +is that it once belonged to Marie +Antoinette.</p> + +<div class="minispace"> </div> +<div class="image border2" style="width: 585px; height: 509px;"> +<a name="i028" id="i028"></a><img src="images/i028.jpg" width="585" height="509" alt="Dulcimer" title="" /> +<span class="caption">Dulcimer</span> +</div> +<div class="minispace"> </div> +<div class="microspace"> </div> + + +<p>Clementi had one of the last +harpsichords made. The date upon +the case was 1802. Beethoven's famous +"Moonlight Sonata" was written +for either harpsichord or piano. +<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>It was published in 1802. Hummel +played on the harpsichord as late +as 1805, but it had to give way, +though most reluctantly, to the new +invention called the pianoforte. Just +how slow the public was in accepting +the innovation and improvement +upon the instruments mentioned, +the following quotation from a folio +gotten out by Thomas Mace, who +was one of the clerks of Trinity +College, at the University of Cambridge, +testifies. He was pleased to +call his booklet "Musick's Monument," +and it was printed in 1676 +in London.</p> + +<p>He scorned the new invention but +warmly upheld the lute and viol. +He explained that the lute was once +considered difficult to play because +it had too few strings, only ten to<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> +fourteen, while at the time of his +writing it had sixteen to twenty-six. +He makes the statement that he +never spent more than a shilling a +quarter for strings. The care of a +lute he describes quaintly:</p> + +<p>"And that you may know how +to shelter your lute in the worst of +ill weathers (which is moist) you +shall do well, ever when you lay it +by in the day time, to put It into a +Bed that is constantly used, between +the Rug and Blanket, but never +between the Sheets, because, they +may be moist. This is the most +absolute and best place to keep +It in always, by which doing, you +will find many Great Conveniences. +Therefore, a Bed will secure from +all these inconveniences and keep +your Glew as Hard as Glass and all<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> +safe and sure; only to be excepted, +that no Person be so inconsiderate +as to Tumble down upon the Bed +whilst the lute is there, for I have +known several Good lutes spoiled +with such a Trick."</p> + +<p>Again we are indebted to Italy +for the invention and name of the +pianoforte. It is a strange fact +that, entirely unknown to one another, +three men were working out +the same principle—namely, the +hammer action—at the same time. +Marius in France, Schroeter in +Germany, and Bartolomeo Christofori +(often called Christofali) in Italy +worked secretly and simultaneously, +and for a long time it was undecided +to whom the honor really belonged. +A careful examination of all records, +however, establishes beyond a doubt<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span> +the priority of Christofori's claim. +The hammer action was what all +previous instruments lacked, and +it seems strange that it took nearly +two thousand years for this principle +to be discovered and applied. Many +times the inventors appeared to be +almost upon it. They worked all +around it, but the idea seemed illusive +and they never grasped it.</p> + +<div class="minispace"> </div> +<div class="image border2" style="width: 590px; height: 512px"> +<a name="i032" id="i032"></a><img src="images/i032.jpg" width="590" height="512" alt="Christofori Piano from the Metropolitan Museum +of Art, New York City" title="" /> +<span class="caption">Christofori Piano from the Metropolitan Museum +of Art, New York City</span> +</div> +<div class="minispace"> </div> +<div class="microspace"> </div> + + +<p>At this point it might be well to +enumerate in order the instruments +which preceded the piano, if only to +fasten them clearly in memory: the +lyre and harp of the ancients; +the dulcimer, played by means of +the plectra and to which, as the +hand could use but one plectrum, +there was a keyboard added to use +all the fingers, thus moving the +plectra faster; the clavichord, with +<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span>tangents of brass to strike the strings; +the virginal and the spinet, in reality +the same; the harpsichord, with its +crow quills to half rub, half strike +the strings, still far away from the +hammer action of the present-day +piano. It seems almost unaccountable +that the manufacturers who so +greatly improved the mechanism of +the harpsichord at this stage failed +to discover the hammer action. But +at last, after the quest of centuries, +the quill, thorn, and ivory were discarded +and a small hammer struck +the string, giving a clear, precise, +but delicate tone hitherto unheard. +The "scratch with a sound at the +end" was gone forever. The harpsichord +had been changed into an +instrument of percussion, and it only +remained for man to perfect that<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> +primitive creation into the superb +piano of today.</p> + +<p>Although Italy gave the invention +to the world, it remained for northern +Europe and England to take up the +idea and improve it. Christofori +solved three important problems: +first, the construction of thicker +strings to withstand the hammer +action; second, a way to compensate +for the weakness caused by the opening +in the tuning-pin block; third, +the mechanical control of the rebound +of the hammer from the +strings, so that the hammer should +not block against the latter and prevent +vibration.</p> + +<p>The first Christofori instrument +was brought out in 1709. Marius +did not come forth with his claim +until 1716, and Schroeter not until<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> +the next year. The name "pianoforte" +is traced clearly to the year +1598 and is said to have been originated +by an Italian named Paliarino. +In some of his manuscripts +he mentions an instrument called +<i>piano e forte</i>. The English put in +a claim for a monk living in Rome +who had made an instrument resembling +Christofori's in 1711 and +had brought it to England, where it +created a profound sensation. This +may have been true, but England +did little to develop even the harpsichord +until long after Continental +makers had achieved marked success +in the business. In 1760 German +workmen to the number of twelve +went to London. They were known +as the Twelve Apostles, and it is +their descendants who became identi<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>fied +with the successful development +of the piano down to the present +time.</p> + +<p>Very few of the first Christofori +pianos have been preserved. One, +in excellent repair, is in the Metropolitan +Museum in New York. Two +are in Florence, dated 1720 and 1726. +They show, beyond a doubt, that he +had anticipated the plan of escapement +and hammer checking. Like +many other pioneer inventors, this +man died in comparative poverty. +Schroeter, the German claimant, became +a famous maker of instruments. +He succeeded in improving +the piano to a large extent. But +his life was made miserable fighting +the claims of other manufacturers +who sprang up and immediately +went into business. Marius met<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span> +the same fate, being driven to distraction +by competitors, some of +whom turned out instruments far +superior to his.</p> + +<p>England did not accomplish much +before the middle of the eighteenth +century. Up to 1760 all pianos +were made in what is known as the +"grand" form. Then a German in +the employ of the Tschudi's, famous +makers of harpsichords, invented +the familiar "square" style. At +the beginning of the nineteenth +century, the most noted European +makers were the Steins, Stodart, +Broadwood, Pleyel, Erard, and Silberman. +Pleyel was distinguished +not only for his fine instruments, +but for the fact that he was the +twenty-fourth child born to his +mother after she married Martin<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> +Pleyel. She died soon after his +birth, whereupon his father took +unto himself another wife and had +fourteen more children, making a +family of thirty-eight, thirty-five of +whom lived and prospered. Pleyel +was chapel master of Strasburg +Cathedral. He was the author of +some fine hymns and other compositions +which we know and love +today. He lived in Paris, manufactured +splendid pianos, and was, before +his death, proprietor of one of +the largest establishments in Europe.</p> + +<p>To show against what prejudice +the piano had to struggle as compared +to the harpsichord (and even +the clavichord), we quote from a +musical critic in Leipzig who said:</p> + +<p>"The clavichord stands highest of +all instruments, and although on<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> +account of its nature it is excluded +from the concert hall, it is the companion +of the recluse. The latter +says to himself: 'Here I can +produce the feelings of my heart, +can shade fully, drive away care, +and melt away a tone through +all its swellings,'" This critic says +further:</p> + +<p>"The piano is so deficient in its +shadings and minor attractions, it +is adapted only for concerts and +chamber music." This dissertation +closes as follows: "In order to judge +a virtuoso, one must listen to him +while at the clavichord, not while +at the piano or harpsichord."</p> + +<p>To illustrate the novelty of the +piano in the year 1767, we find on +an old English play bill of the +Covent Garden Theater a certain<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> +Miss Brickler advertised to sing a +favorite song from "Judith," accompanied +by Mr. Dibdin on "a new +instrument" called the pianoforte. +This was at the intermission after +the first act of "The Beggars" opera.</p> + +<p>After Mozart became acquainted +with the piano, he gave his preference +to those made by Stein, of +Augsburg. Afterwards, however, he +transferred his affection to those +made by Anton Walter, of Vienna. +His "grand," which was but five +octaves, with white sharps and black +naturals, is now in the Mozarteum +at Salzburg.</p> + +<div class="minispace"> </div> +<div class="image border2" style="width: 595px; height: 522px;"> +<a name="i040" id="i040"></a><img src="images/i040.jpg" width="595" height="522" alt="Piano made by Matthäus Andreas Stein +Vienna, early Nineteenth Century" title="" /> +<span class="caption">Piano made by Matthäus Andreas Stein +Vienna, early Nineteenth Century</span> +</div> +<div class="minispace"> </div> +<div class="microspace"> </div> + +<p>Silberman, the German maker, was +finally successful in interesting King +Frederick of Prussia in his new instrument +to the extent of persuading +him to purchase outright all he had +<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>finished. There were some fifteen +of these, which were placed in the +rooms at the palace. This demonstrates +the King's love for music. +He was a flute player of considerable +ability. One of the court musicians +was Carl Philip Emanuel Bach, son +of the great master, and King Frederick +had expressed a desire to hear +the elder Bach play upon the new invention. +For some time old Sebastian +was obstinate and tartly declined all +invitations. His son at last cajoled +him into acceding to the King's +wishes. He arrived most unexpectedly +and excited the King to such an +extent that he rushed out exclaiming: +"Gentlemen, old Bach has come."</p> + +<p>During the performance he stood +behind the musician's chair muttering +in an undertone: "Only one<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> +Bach, only one Bach." The King +requested the improvisation of a +fugue in six parts, which the master +did to the astonishment of all present. +But for the new instrument Bach +had little use. He complimented +Silberman on his production, but he +found fault with the unequal tones. +He said the high notes were too weak, +that it was too hard to play. Of +course this greatly displeased the +maker. For a long time he was very +angry. But his better judgment +came to the rescue and at a later +date he succeeded in producing an +instrument to which the master gave +his approval. Bach, however, was +never convinced that any instrument +was equal to his beloved clavichord.</p> + +<p>It will be of interest to women to +know that Maria Anna Stein, daugh<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>ter +of Johann Andreas Stein, the +piano maker, was a most successful +business woman, carrying on the +manufacturing of instruments. This +she continued after her marriage to +Herr Streicher. She was a person +of rare refinement and a warm friend +of Beethoven, whom she greatly admired. +She was privileged to make +his last years more comfortable than +any he had previously experienced. +Good servants were provided to look +after his bodily needs and she always +had one of her best pianos at his +disposal. In a letter to "Nanette," +as she was called, he wrote: "Perhaps +you do not know that though +I have not always had one of your +pianos, since 1809 I have invariably +preferred them."</p> + +<p>As late as 1882 there was a grand<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span> +piano at Windsor Castle which bore +the name of Nanette Stein, Maker. +It belonged to Queen Victoria.</p> + +<p>Clementi may be considered the +first legitimate writer for the piano. +All the great masters, including +Scarlatti, Handel, Bach, and Haydn +(in his first compositions), were written +for the clavichord. So when +listening to the classics they have +left for us, we must remember the +limitations of the instruments upon +which they played and for which +they wrote. Probably no one has +realized this fact more keenly than +the late Mr. Morris Steinert, of New +Haven, Conn. He spent the best +years of his life (to say nothing of +his fortune) in collecting the rare +and valuable instruments which he +presented to Yale College.<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p> + +<p>Mr. Steinert not only searched for +these treasures all over Europe, but +he had them restored and played +upon them, thus giving to the world +the long-forgotten sounds and showing, +by the only method possible, +just how the great masters played. +During the World's Fair the Steinert +collection was in the Manufacturers' +Building, the center of attraction for +music lovers. His experiences were +most interesting in obtaining some +of the rarest specimens. For instance, +a harpsichord with the date +1710 on its case was found broken +and dust-covered in an attic in +Vienna. It had two keyboards, +tortoise-shell naturals and ivory +sharps. It had eight stops, one imitating +the lute and one the flute. +The sounding board was elaborately<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> +painted with flowers and other decorative +symbols, while the inside lid +was ornate with strictly Japanese +art.</p> + +<p>The dearly loved "Nanette Stein" +piano, Beethoven's much prized possession, +is in Mr. Steinert's collection. +America is the home of many +priceless pianos. In this same group +we find an instrument once belonging +to Napoleon Bonaparte. To be correct, +it is a harpsichord, and it was +given to a French sergeant when +the fallen monarch was banished to +St. Helena. The Frenchman came +to America and gave the harpsichord +to Simon Bates, of Scituate Harbor +Light, Mass., from whose heirs Mr. +Steinert purchased it. Claviers, dulcimers, +spinets, and harpsichords, belonging +once upon a time to Bach,<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span> +Haydn, and Mozart, are in this +famous collection.</p> + +<p>Besides the instruments of bygone +days, Mr. Steinert has been +able to get original manuscripts, +worth their weight in gold. It is a +fascinating character study to examine +the scores of the old masters +and note the difference in style and +method. For many years this man +made arduous tours with his instruments, +giving lectures and illustrating +them with actual performance of the +music on the instrument for which it +was composed. His only compensation +was that he felt he was furthering +the true spirit of art and music +in this the country of his adoption. +In his personal reminiscences published +some years ago he says:</p> + +<div class="minispace"> </div> +<div class="image border2" style="width: 600px; height: 401px;"> +<a name="i048" id="i048"></a><img src="images/i048.jpg" width="600" height="401" alt="Piano made by Benjamin Crehore, Boston Cir. 1800" title="" /> +<span class="caption">Piano made by Benjamin Crehore, Boston Cir. 1800</span> +</div> +<div class="minispace"> </div> +<div class="microspace"> </div> + +<p>"How dealers in pianos of this day<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> +must envy the manufacturers of the +good old times when they remember +that then the would-be purchaser had +to look up the maker and court his +pleasure. He had to sign a written +contract, the terms of which sound +droll enough to us. The time limit +for construction was from six to +twelve months and the payments +were, generally, so much cash, so +many casks of wine, a certain amount +of corn, wheat, and potatoes, while +geese, chickens, and turkeys constituted +some of the articles used in +payment. Even a few cords of wood +would be acceptable in making up +the balance. When the piano was +completed, ready for delivery at +the home of the impatient purchaser, +a general festival took place. The +maker was the hero of the hour. He +<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>was accompanied by his craftsmen, +and apprentices if he had any, and +they followed the gaily decorated +wagon and horses which bore the +precious burden to its new home. A +band of music headed the procession +and the maker was borne aloft on the +shoulders of his assistants. Musicians, +organists, school masters, and +other dignitaries marched in the +rear. At the place of destination +the procession was received with +joyous shouts of welcome. The minister +said a prayer and blessed the +instrument and its maker. Then +the mayor or burgomaster delivered +an address, dwelling at length upon +the importance of the event to the +whole community, stating that the +coming of the new musical instrument +would raise the standing of<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span> +the place in the eyes of the surrounding +countryside. Speeches followed +by the school master, doctor, druggist, +and other officials. The mannechor +of the village rendered songs, +and amid the strains from the band +the piano was moved into place. +A banquet and dance closed the +happy occasion."</p> + +<p>In those days the manufacturer +had to make each article by hand +that went into a piano, which is the +reason it took so long to finish the +instrument.</p> + +<div class="minispace"> </div> +<div class="image border2" style="width: 595px; height: 519px;"> +<a name="i050" id="i050"></a><img src="images/i050.jpg" width="595" height="519" alt="Piano made by Charles Albrecht, Philadelphia" title="" /> +<span class="caption">Piano made by Charles Albrecht, Philadelphia</span> +</div> +<div class="minispace"> </div> +<div class="microspace"> </div> + + +<p>If the early records are reliable, +the history of the piano in this +country begins at Philadelphia. In +1775 John Behrend, a German or +Swede, built an instrument in the +Quaker city, and up to 1855 it continued +to be the center of trade in +<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>musical instruments. When we consider +how much the piano has contributed +to the happiness of mankind +and to the promotion of art and +culture, the honor conceded to the +Pennsylvania city is by no means +a small one. The first spinets and +virginals made on this side of the +water were undoubtedly of Philadelphia +manufacture. This was in +the year 1742. Along with its musical +progress it is said that the first +hand or barrel organs were made +there, and of the latter some one +says: "They are the curse and +plague of the modern high class +individual." A Scotchman, who settled +in Philadelphia near the end +of 1785, was the maker of the hand-organ.</p> + +<p>To show that the town was pro<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>gressive +in all kinds of instruments, +we find that the historical society +of Philadelphia has records of the +first organ built there in 1737 by +one Mathew Zimmerman. Local +historians claim it to be the first +one built in America. John Clark +built one at Salem, Mass., in 1743, +for the Episcopal church at that +place. This puts Massachusetts well +to the front in early musical history. +Zimmerman's will, probated the same +year he finished the organ, bequeaths +it to his nephew and expresses the +hope that he would learn to play +upon it, adding, "If not, it can be +sold, owing to its being so much of +a curiosity."</p> + +<div class="minispace"> </div> +<div class="image border2" style="width: 595px; height: 419px;"> +<a name="i052" id="i052"></a><img src="images/i052.jpg" width="595" height="419" alt="Piano, Primitive German Action. Eighteenth Century" title="" /> +<span class="caption">Piano, Primitive German Action. Eighteenth Century</span> +</div> +<div class="minispace"> </div> +<div class="microspace"> </div> + +<p>The story of the first piano to +come into this country is truly +romantic and historic. The famous +<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>continental frigate "Boston," a privateer, +sailed into port with a British +merchant ship as a prize. The dauntless +Captain Tucker was in command. +The cargo was sold for the +benefit of the National Treasury, +and among other articles was a +pianoforte of London make.</p> + +<p>It was not until after the revolutionary +period that the spinet +and harpsichord were superseded +in this country by the piano. A +newspaper of 1791 tells us that there +were some twenty-seven pianos +among the wealthy Boston families. +All were of English make. In 1840 +slow, easy-going ways crept into +Philadelphia and she lost the prestige +she once enjoyed of being the center +of musical culture as well as of art +and literature. Boston took the<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span> +place and has held it ever since. +Many of the distinctive features of +the American piano actually originated +there, such as the applying +of metal in construction, which idea +was first shown to be practical by +Alpheus Babcock and Jonas Chickering. +Then Timothy Gilbert, another +Boston man, conceived the +upright action which is in such +general use today. There is no +doubt but that Chickering was +the first man who dared deviate +from a prescribed method in case +building.</p> + +<p>Old newspapers contain much of +interest concerning these first days +in the musical history of our country. +In the Boston <i>Gazette</i>, published in +1770, we are told that an excellent +spinet had just been completed which<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> +for goodness of workmanship and +harmony of sound was esteemed by +the best judges to be superior to +those imported. So much for American +skill and enterprise.</p> + +<p>It might be well to mention that +Massachusetts is credited with making +the first violins in this country. +In 1789, also, there were two teachers +of harp and piano in Boston, one of +whom could act as tuner and repairer +if occasion demanded. We find that +Boston early supported a musical +magazine. In 1797 Peter Van +Hazen left New York for the "Hub" +and there issued the first copy of +his publication devoted to topics +on music. He also imported sheet +music direct from London. It was +about 1800 when Benjamin Crehore, +of Milton, Mass., built the first piano<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span> +ever made in this country, and he +did it in Boston. He was a skilled +workman who knew how to make +violins, 'cellos, guitars, drums, and +flutes. Ten or twelve pianos were +all he could make in one year and, +to the shame of America be it recorded, +he had to put the stamp of +<i>London</i> or <i>Paris</i> upon them before +he could make a sale, showing that +our forefathers considered the foreign +made article superior to those +of home manufacture. All these +things are changed, however; the +American instrument now commands +the highest price and is shipped to +every part of the world.</p> + +<div class="minispace"> </div> +<div class="image border2" style="width: 395px; height: 600px;"> +<a name="i056" id="i056"></a><img src="images/i056.jpg" width="395" height="600" alt="A Stodart Piano (Old English)" title="" /> +<span class="caption">A Stodart Piano (Old English)</span> +</div> +<div class="minispace"> </div> +<div class="microspace"> </div> + + +<p>The New York newspapers of +olden time contain many notices +that are curious enough to us who +read them over in this day and +<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span>generation. For instance, we find +that "Peter Goelet has just gotten +in a supply of goods on the ship +'Earl of Dunmore,' and advertises +that he has over three hundred +articles, from masons' trowels to +oil paint, skillets and books, paint-pots, +guitars, fiddles, flutes and other +musical instruments, as well as a +large box of harpsichord wire and +hammers."</p> + +<p>This motley collection no doubt +found eager customers. Another +paper tells us that "Herman Zedwitz, +teacher of the violin, announces +to the public that he has just returned +from Europe and will give a concert +in the assembly rooms at the 'Sign +of the Golden Spade.'" Later, in +1774, this same man evidently found +that the public did not appreciate<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> +him musically, for the intervals were +so long between lessons and engagements +for his violin that he was +forced to take up the occupation of +a chimney sweep. From accounts +in the paper he must have inaugurated +a sort of trust, for he advertised +to take contracts by the year +for "dusting out the sooty interior +of flues" and adds, "None but +competent boys employed." Evidently +musical culture in New York +was temporarily at a low ebb.</p> + +<p>In this story of the evolution of +the piano we have seen how, from +its primitive beginning, it has become +the one splendid instrument that is +capable of representing the effect of +a full orchestra. Before the death +of Beethoven he realized the tremendous +power of the piano and<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span> +displayed its resources in a manner +undreamed of by Haydn. Could +these old masters return today and +sit at one of the splendid productions +of the twentieth century they +would be dumb with amazement +and entirely at a loss as to how +to handle the enormous range of +seven and a third octaves. Best of +all, the price is such that some +style of modern piano is within the +reach of nearly every one. Music +in the home is now the rule, not +the exception.</p> + +<p>Leigh Hunt has well expressed +the feeling of all piano lovers in these +verses, which are full of sentiment:<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span></p> + +<div class="block"> +<div class="poem"> +Oh, friend, whom glad or gay we seek,<br /> +<span class="i4">Heaven-holding shrine;</span><br /> +I ope thee, touch thee, hear thee speak,<br /> +<span class="i4">And peace is mine.</span><br /> +No fairy casket full of bliss,<br /> +<span class="i4">Outvalues thee;</span><br /> +Love only, wakened with a kiss<br /> +<span class="i4">More sweet may be.</span><br /> +<br /> +To thee, when our full hearts o'erflow,<br /> +<span class="i4">In griefs or joys</span><br /> +Unspeakable, emotions owe<br /> +<span class="i4">A fitting voice.</span><br /> +Mirth flees to thee, and loves unrest,<br /> +<span class="i4">And memory dear,</span><br /> +And sorrow, with his tightened breast<br /> +<span class="i4">Comes for a tear.</span><br /> +<br /> +Oh, since few joys of human mould,<br /> +<span class="i4">Thus wait us still,</span><br /> +Thrice blessed be thine, thou gentle fold<br /> +<span class="i4">Of peace at will.</span><br /> +No change, no sullenness, no cheat<br /> +<span class="i4">In thee we find;</span><br /> +Thy saddest voice is ever sweet,<br /> +<span class="i4">Thine answer kind.</span><br /> +</div></div> +<div class="minispace"> </div> +<div class="minispace"> </div> + +<div class="tnote"> +<h3>Transcriber's Note:</h3> +<br /> +The following typographical errors have been corrected:<br /><br /> + +"Stien," "Stiens," and "Stienert" have been changed to "Stein," "Steins," +and "Steinert" in a number of places throughout the text.<br /><br /> + +The incorrect page number in the list of illustrations for the Charles +Albrecht piano illustration has been changed.</div> +<div class="minispace"> </div> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's How the Piano Came to Be, by Ellye Howell Glover + +*** END OF THIS PROJECT GUTENBERG EBOOK HOW THE PIANO CAME TO BE *** + +***** This file should be named 29280-h.htm or 29280-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/9/2/8/29280/ + +Produced by Meredith Bach and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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