Books › Ayars, Contributions to the Art of Music in America by the Music Industries of Boston (1937) — the Squier, Farley, Rettberg, Rockwell and Elias Howe matter, 1937 › scan 125
Scan 125
Ayars, Contributions to the Art of Music in America by the Music Industries of Boston (1937) — the Squier, Farley, Rettberg, Rockwell and Elias Howe matter, 1937
15 lines. Read by computer on 27 September 2026. Printed page 103. See the scan on archive.org.
1ical screws; an equal length of string throughout; a hopper action anticipating Wornum's and metal supports for it. So many new ideas were surely never grouped before in one musical instrument. It is remarkable as containing the original essays for many improvements since made use of or re-invented. . . . It will now be seen why I give the rare distinction of originality in invention to Hawkins." 3
2The instrument stood about five and a half feet high, and the frame containing the keyboard was pivoted in the manner of the falling front of a bureau to economize space. 4
4Not until 1820 was the great increase of tension and the use of thicker and heavier strings, made possible by this change, given real recognition. It is interesting to note that Mr. Stodard, the English employer of William Allen and James Thom who patented a metal frame for grand pianos, bought their patent and refused to enforce observance in order not to hinder further improvements.
6In France Sebastien Erard made the first French square piano in 1777, and his first grand in 1796. One of the most important inventions which has made possible the modern pianoforte was an action which contained the germ of the double escapement. This "provided for a quick repetition of the stroke by releasing the key only a very short distance." [address hidden] this improvement was made in 1808, it was not patented until 1821 by Erard's nephew, Pierre.
8There was also a South German action, improved in Vienna, which was called the German or Viennese action. "This differed from the English action in that the axis of the hammer was not fixed but rose with the key lever at the end of which was a short strip of wood having a slot wherein the hammer butt was centered." 4
10These were the instruments which served as models for our early American makers. The importance of American achievements in this kind of instrument making is well illustrated by the fact that the best American pianofortes "serve as ideals for followers of Cristofori's art in every country of the globe. And the principal improvements which have placed the piano of today beyond comparison with its progenitors of half a century ago have emanated from the brain of our own instrument makers." 6
124 James, Philip. Early Keyboard Instruments p. 57 footnote 3.
135 Ibid pp. 56 & 57.
146 American History and Encyclopedia of Music p. 313.
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