Last Update June 17
Last week was a fantastic joint meeting of AMIS and the HKSNA groups, 170 of our closest friends! John Watson did a fantastic job of hosting the group at Colonial Williamsburg, and the exhibition of keyboards continues to sparkle, and provided a working instrument tour for two afternoons.
Judy Conrad on clavichord and Joseph Butler on organ got us started in the chapel at William & Mary, with John Watson hand pumping the 18th C organ.
There were plenty of harpsichords, but this Graff copy by Rod Regier and the 1816 Broadwood next to it got our attention.
And if that were not enough, the Changing Keys exhibition provided the backdrop and starring role all at once.
For those interested folks who have asked for it, below is a condensation of my presentation “Distinctly Different: Three American square pianos from the 1830s” for your enjoyment.
The recordings will follow once we can record the Reuss at a proper tuning.
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New – Updates to the Reuss and Nunns biographies, and thanks to the people who have volunteered new information!
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We love having the local (and not so local) school groups over, and below are a few pictures from earlier this year.
Maria Parrini takes a turn on the 1570 Italian virginal…a learning experience for even this gifted musician.
Jon Grier provides a competent rendering of some Scarlatti on the Zuckermann Flemish X, the beast that got me started those many years ago.
Marion Sprott digs into Chopin on a grand he knew quite well, an 1845 Broadwood concert grand he played while in London (for £20 fee no less!)
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We have gotten numerous requests (seems like one a week now) for valuations and help in selling those wonderful but large American Square Pianos. For the record, while we do keep up with the market in general, setting valuations is fraught with danger, and the market for the big squares is slow. If you want to get the best value, be prepared to advertise at length and wait. If you need it out of the house in two weeks, put it on the online auction block at $1.00 and that will usually work. If you just want information though, drop me a line, I can usually help.
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The ‘Changing Keys’ early piano exhibit at Colonial Williamsburg is in full swing. Plan a trip and go see these great instruments. Additionally, the new book that accompanies this exhibit is available through the Colonial Williamsburg Foundation online – http://www.williamsburgmarketplace.com/webapp/wcs/stores/servlet/ProductView?storeId=10001&categoryId=30719&ssr=1&catalogId=12122&langId=-1
Overseas shipments are still being worked out, but US buyers will have no difficulty
Changing Keys: Keyboard Instruments for America
At a Glance:
- By John Watson
- Features transitions of keyboard instruments between 1700 to 1830
- Hardcover
- 8″x10-1/2″
- 144 pages
More Detail:
The transition from harpsichord to piano and the accompanying shift in taste between 1700 and 1830 was a musical revolution in revolutionary times. So, also, was the transition from London’s monopoly on the manufacture of instruments to a burgeoning American industry. Changing Keys: Keyboard Instruments for America 1700-1830 explores furniture design, regional and political influences, market and demographic shifts, manufacturing technologies, and the competition among makers and merchants during the colonial and federal eras.
Changing Keys:
Keyboard Instruments for America, 1700–1830
From Harpsichord to Pianoforte
November 22, 2012–September 7, 2014
Explore the evolution of spinets, harpsichords, and pianos in the 18th century in this exhibition of more than 25 instruments. Examine the differences in the various types of keyboards as well as the evolution of the instrument over time.
Keyboard instruments were an integral part of the cultural milieu of Virginia’s colonial and post-colonial period. The second known public performance on a piano in America took place at the Raleigh Tavern.
Featured instruments, ranging in date from 1700 to 1830, are drawn from Colonial Williamsburg’s significant collection of English keyboards. Many have never been exhibited before. Two reproductions are included so that they can be played for visitors. Models of detailed aspects of the keyboard allow visitors further insight into the workings of the instruments.
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We continue to document the arrival into the collection of an interesting American piano by the firm of Robert Nunns, Clark and Co. of NY.
See the articles page or click below for a report on this piano -
A Thoroughly Southern Piano 1.0
And hear it here -
http://www.youtube.com/watch?v=qx49q0NssR4
The first leather from Graham Walker’s efforts to source great acoustically viable leather has arrived and is now available to audition! Go to the page on re-leathering hammers to learn more and listen.
We have received our wire shipment from Stephen Birkett, and stringing of the Andrew Reuss piano (iron section) is complete. We will post our thoughts and some sound files here in the next few weeks as we stabilize the instrument (many years without tension, and much structural work done to return to service) but preliminary results are quite pleasant.
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Check out the rapidly developing website of our friend Colm O’Leary.
http://www.facebook.com/MonartPianoCollection
If we get requests for grand and cabinet piano technology material I would be willing to expand our coverage. Drop an email and let me know.
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As we promised, lots of material is being added to to the pages on leather, those interesting sound covers on square pianos, and many other technical items. We will post the pages that are updated here so you don’t have to go hunting.
Clementi – 12/12
Biography – 05/16
Releathering Hammer Coverings – 7/09
Accessories 05/16
Details/Drawings 7/06
Dating Pianos 6/10/2013
Glue 11/5
Soundboards 7/25
Importing Pianos 8/10
Articles 8/16
Announcements 12/12
Wire 10/18
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For those of you who have followed the return of the 1804 six octave Broadwood Square at Tudor Place, our friend Mark Adler has completed his restoration report, and courtesy of Erin Kuykendall at Tudor Place we have posted this now.
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Broadwood patent of 1827 describing the first iron frame in Broadwood pianos.
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This site is being developed to help individuals who have (or would like to have!), a working square piano from late 18th or early 19th century, and perhaps would like to know more about how to approach restoring such an instrument. It may also be a place for the more experienced restorer to share their best practices and techniques, and to advance the state of the art in early piano studies.
As such, it will work best with many contributions, so anyone with a subject they would like to address is invited to contact Tom Strange in the contacts box and I’ll happily respond or post your content to the appropriate page! As with all things ‘rediscovered’, the collected wisdom of our contributions may not always be so ‘wise’, so please use this information to make an informed decision for yourself regarding your particular restoration. The Friends of Square Pianos network is always happy to take a question, even if ready answers are not so easy to come by!
