MODERN METHOD OF GRAND PIANOFORTE CASE CONSTRUCTION.

The gap which is necessary in the grand pianoforte between the sound-board and the tuning-pins makes it impossible to join the former to the wrest-plank. This state of affairs undoubtedly constitutes a weakness inherent in the grand and, besides, exceedingly unfortunate. For an interruption of the continuity of communication between the various sound-conducting materials of which the instrument is constructed entails a corresponding loss of resonance. The tone of the pianoforte is inevitably fleeting and evanescent; lack of continuity in the construction only increases this fault. It has somewhere been stated that the construction of the grand pianoforte implies greater resisting strength of the wrest-plank on account of its being entirely supported by the iron frame and not dependent upon a wooden back as in the upright. This view seems to be incorrect. A properly supported back on an upright affords a very strong support to the wrest-plank and in combination with the iron frame supplies all necessary rigidity, and in a manner more direct and efficient. But the wrest-plank of the grand pianoforte may and should possess a sufficient strength. Various makers have adopted several different methods to secure this strength. One very good device supplies a rear truss to the lower surface of the wrest-plank by means of a downward projecting shoulder cast in the iron frame. There are other methods more or less similar. The arrangement of the tuning-pins within the body of the wrest-plank also requires considerable care. Of course, their disposition depends ultimately upon the string arrangement, but there are problems to be considered in connection with the manner in which they are arranged with relation to their mutual positions as considered apart from the strings. For example, it is most important that they should be so placed that the strings do no rub against each other in their passage between the pins and the agraffes. The frequent neglect of this matter is a cause for regret. Much loss of tonal purity would be avoided and the tuner’s work greatly simplified if all designers took the proper amount of care in this important matter. Further, it may be remarked that the best practice accords with this suggestion in every respect. It will also be found that a slight tilting back of the pins in a direction that is remote from the strings tends to lighten the pull of the latter and to assist the resisting power of the wrest-plank.

When the iron plate is fastened over the entire structure, it is fixed on to the wrest-plank by means of heavy iron bolts that should be sufficiently long to go entirely through it and be closed with a nut on the other side. By this means the wrest-plank is secured against lack of rigidity, and its durability immensely increased.

The hardest kind of maple should be used in the construction of the wrest-plank. No other wood appears to have so many of the required qualities, and its use for this purpose has become, in America at least, universal.

The general details of the external case of the grand pianoforte are not unfamiliar. The standard full size of nine feet and the miniature of six feet or less, as well as intermediate parlor sizes, are familiar to all. The shape of the fall-board that covers the keys is well known, and the design of the lid and supporting legs sufficiently common to make further description superfluous. It is proper, however, to note briefly the general change that has come about in the conception of the decorative function of the grand pianoforte case.

Formerly, the aim of pianoforte manufacturers was entirely different from that of the early harpsichord and spinet makers. Instead of doing their utmost to improve the external æsthetic value of their instruments, they seemed too much occupied in providing means for internal improvement to pay proper attention to appearance. Thus we see that the sombre and hideous decorative ideas which prevailed in the furniture of the last generation were long faithfully imitated in the external design of the grand pianoforte. The ugly and cumbersome carved legs, the inartistic curving of the lid and arms, and the general look of ponderosity and hugeness all combined to give to the instrument of that era the general appearance of a hypertrophied coffin on legs.

Modern makers, however, animated by a truer appreciation of decorative values, and recognizing the refining influence of beautiful things, in themselves, and apart from their other properties, have gone far towards consigning the more crude and hideous designs to the limbo of obscurity. It has become generally recognized that the coffin-like look of the concert grand may be largely modified, if not wholly removed. By altering the design of the legs and by regarding them rather as a part of the case than as mere supports, it has been possible to combine the proportions of legs and case so as to make them appear one harmonious entity. Of course, the actual method of attaining to this end has varied largely among different makers, and, likewise, the greater number of successful efforts in the direction suggested have been made upon grand pianofortes designed to order to fit the furnishings and decorative schemes of music rooms in the homes of the wealthy. Nevertheless it is a healthy sign of the general æsthetic development of the American people that the number of these specially ordered and designed cases increases yearly. In this way we are going back to the ideals that possessed the ancient makers of the virginals, clavichords and other instruments, who were wont to call in the services of the most famous artists in color and the most cunning carvers in wood to compass their beautiful and costly designs.