STATISTICS OP PIANOFORTES EXHIBITED.
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[Ccass Xa.
observable in the harp, and ■which is the consequence ofthe linger acting immediately on the string in that instru-ment without the intervention of any other mechanism.’The power of this instrument depending on the quantityof mutter brought into vibration, the resonance, or theperfection of that vibration, depending on the correctproportions of its parts, and the accuracy of intonationdepending on the nature of the bridging, the proportionsof the strings, and their arrangement with regard to theblow of the hammer, are all most admirable; while theaction depending on the peculiar mechanism employedfar surpasses everything else of the kind, for it enablesthe player to communicate to tiie strings all that theiinest-formed and most skilful hand can express, and be-comes, as it were, a part of himself, reflecting every shadeof his feelings, from the most powerful to the softest andmost delicate sounds. This action is, indeed, so perfect,particularly in its power of delicate repetition, that if anynote is missed in execution upon it, it is the fault of theplayer and not of the instrument. Many persons have avery meagre notion of the power of expression possessedby the pianoforte. The fact is, however, that it reallypossesses almost all those elements of expression whichbelong to any other instrument, and several which arepeculiar to itself, from the circumstance of the variousparts of music adapted to the instrument being broughtout by the same hand and same feeling. An immensedifference of volume of tone and of effect is produced bythe manner of touching the keys and by the use of thepedals, especially upon an instrument of great power,line quality of tone, and delicate mechanism in the action.
“ The manufacture of the piano as a branch of tradeis of very great importance, from the superior characterof the principal workmen, and the vast numbers em-ployed, directly and indirectly, in connexion with it.In all the cities of the civilized world there arc numerousmakers of this instrument, with immense numbers of work-men; and in most secondary towns throughout Europe thereare small makers; while the increase of the number ofpianos compared with the population is every year morerapid, a circumstance which is not observed in regard toother musical instruments. Tins is corroborated by thefact that some years ago pianoforte-music constitutedonly a very modest portion of a music-seller’s stock;whereas now it fills more than three-quarters of hisshelves, and makes his chief business. The number ofteachers is something wonderful: many are reducedladies, who find in this exercise of their acquirements themost available means of support. Every professionalpianist has often had occasion to exercise his kindly andgenerous feelings in recommending and assisting accom-plished women, whose helpless families would otherwisehave been utterly destitute.
“ The social importance of the piano is beyond allquestion far greater than that of any other instrument ofmusic. One of the most marked changes in the habitsof society, as civilization advances, is with respect to thecharacter of its amusements. Formerly, nearly all suchamusements were away from home and in public ; now,with the more educated portion of society, the greaterpart is at home and within the family circle, music onthe piano contributing the principal portion of it. Inthe more fashionable circles of cities, private concertsincrease year by year, and in them the piano is the prin-cipal feature. Many a man, engaged in commercial andother active pursuits, finds the chief charm of his draw-ing-room in the intellectual enjoyment afforded by thepiano.
“ In many parts of Europe this instrument is thegreatest solace of the studious and solitary. Even steam jand sailing-vessels for passengers on long voyages are Inow obliged, by the fixed habits of society, to be fur- inished with pianofortes, thus transferring to the ocean ;itself something of the character of home enjoyments. !
“ By the use of the piano many who never visit theopera or concerts become thoroughly acquainted with the !choicest dramatic and orchestral compositions: this in- :ftuence of the piano is not confined to them, but extends 1to all classes; and while considerable towns have often ■no orchestras, families possess the best possible substitute, :
making them familiar with the finest compositions. Thestudy of such compositions, and the application necessaryfor their proper execution, may be, and ought to be, madethe means of greatly improving the general educationalhabits and tastes of piano students, and thus exerting anelevating influence, in addition to that refined and elegantpleasure which it directly dispenses.”*
One hundred and seventy-eight instruments of thisclass have been exhibited, Great Britain contributingsixtv-six of that number, according to the tbllou ingTable:—
Exhibitors. Instruments.
Canada (Colonial possessions) l 1
Is'ova Scotia ditto — 1 l
Vnited States - - - - G 10
llussia ------ l 2
In the above department the three great European makers, Messrs. Broadwood, Collard, and Erard ,
1 have exhibited specimens of the most perfect and beauti-I ful manufacture. And upon the subject of this highly-important aud valuable instrument it is necessary to| dwell with more than an ordinary force; though anyj attempt to analyze the entire structure of a pianoforte,
1 comparing its former build with the present, wculd bej here superfluous. We would, however, draw attentionj to the perfection at which this instrument has arrived,
! so that the public may review its past history, and ac-knowledge the debt of gratitude due to those makerswho have so unceasingly worked for its improvement.And here it will be proper io state, that the Jury, appre-ciating the strong claims of the three makers, Messrs.Broadwood, Collard, and Erard , to public testimony,awarded them alike the Council Medal, f
Messrs. Longman and Co., of London , predecessors ofClementi and Collard, first introduced what is called the“ hopper escapement The invention of the damper , forchecking the vibration of the strings, was due to a nativeof Ireland , aud it was for a long time called the r ‘ Irish”damper.
About the year 177G, Becker, a German, undertook toapply the pianoforte mechanism to the harpsichord. Inthis task lie was assisted by John Broadwood and KobertStcdart, at that time workmen in the employ of Burk-hardt Tschudi, of Great Pulteney Street, London . Aftermany experiments, the grand pianoforte mechanism wascontrived by these three. It is, in all essential particu-lars, the same still used by Messrs. Broadwood andMessrs. Stodart, and is remarkable for its simplicity, effi-ciency, and durability. It may be emphatically termedthe direct action.
Messrs. Broadwood alone, from 1780 to 1851, havemade with this mechanism (slightly modified from timeto time) upwards of eighteen thousand full-sized grandpianofortes, besides fifteen hundred pianofortes of smalldimensions.
The earliest notice of a pianoforte in their books occursin 1771—of a grand pianoforte in 1781. Clementi wasthe first to bring the grand pianoforte into notice as aneffective concert instrument, lie played on one by Broad-wood in the Pantheon, Oxford Street, in 1782.
The total number of pianofortes of all kinds made byMessrs. Broadwood from 1771 to 1851 is one hundred andthree thousand seven hundred and fifty, and of these,sixty thousand three hundred and eighty-two have beenmade from 1824 to 1S50—an average of about twothousand two hundred and thirty-six per annum for thatperiod. The number of persons employed in their manu-factory, at the taking of the census in 1851, was five
* End of Mr. Thnlbcrg’s remarks upon pianofortes.
t This award was only confirmed by the Council cfChairmen in Mr. Lrr.rd's case.