How the Piano Came to Be

by Ellye Howell Glover

Piano made by Matthäus Andreas Stein Vienna, early Nineteenth Century

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 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."

During the performance he stood behind the musician's chair muttering in an undertone: "Only one 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.

It will be of interest to women to know that Maria Anna Stein, daughter 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."

As late as 1882 there was a grand piano at Windsor Castle which bore the name of Nanette Stein, Maker. It belonged to Queen Victoria.

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.

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 painted with flowers and other decorative symbols, while the inside lid was ornate with strictly Japanese art.

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, Haydn, and Mozart, are in this famous collection.

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: