How the Piano Came to Be

by Ellye Howell Glover

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.

The first Christofori instrument was brought out in 1709. Marius did not come forth with his claim until 1716, and Schroeter not until 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 piano e forte. 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 identified with the successful development of the piano down to the present time.

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 the same fate, being driven to distraction by competitors, some of whom turned out instruments far superior to his.

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 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.

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:

"The clavichord stands highest of all instruments, and although on 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:

"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."

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 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.

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.