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THE MUSIC TRADE REVIEW.
Continued from page j .
"History of the American Pianoforte," sums
this up in a very able manner. He says : First,
there is the application of metal to the piano-
forte, without which the modern methods of
overstringing and enlarged resonating possibili-
ties of the sounding-board, which result to some
extent from the larger capacity of the case, would
be impossible. To Boston, coupled with the
names of Alpheus Babcock and Jonas Chickering,
we owe the first successful and permanent intro-
duction of ruetal plates into squares and grands.
Timothy Gilbert, another Bostonian, also antici-
pated the present upright action in use through-
out this country, and bequeathed to the trade
many very potent technical ideas in connection
with the improvement and development of the
upright piano. Jonas Checkering was incon-
trovertibly the first to strike out from the tra-
ditional methods which piano-makers at first
trod in relation to the building of cases, for hav-
ing of necessity studied the question of resist-
ance plus tension, while developing his square
and grand metal plates, he saw that the Ameri-
can pianoforte of the future would be large in
body, therefore endowed with greater resonating
facilities and tone-producing power. The whole
cast metal plate was the key to these conditions,
and no unprejudiced person, standing on the
ground of the technical historian, while gazing
over the whole field of pianoforte development
in this country, can take away from Jonas Chick-
ering the credit of being the initiator practically
of the significant innovations which are here
coupled with his name, and these are linked
unquestionably with the nationalization of the
American piano-forte.
THE AMERICAN PIANO A NATIONAL CREATION.
New England, it has long been generally under- partnership. Lewis Babcock, previous to this
stood that the first instruments were made in event, died in 1817, in Milton. The Hoyts
Boston by Benjamin Crehore, of Milton, some dropped out of sight in 1819. Thomas Apple-
time around 1798-1800. These dates, moreover, ton returned to organ building on his own ac-
have been published and circulated as the prob- count. Man}* organs yet exist as examples of
able period in which the first piano was made, the latter's professional skill.
Alpheus Babcock established himself in busi-
not only in Boston but in this country.
Many absurd accounts have been published by ness at ii Marlborough street, in 1S21. The
way of illustrating how Crehore became connect- year after he moved to Cambridge street, where
ed with pianoforte-making.
The facts are: he carried on business with John Mackay. It
Crehore was, as far back as 1791, well known in was about this period that Babcock originated
Boston, New York and Philadelphia as a maker his much spoken of metal plate for squares.
of violins, 'cellos and other instruments of that
OSBORN AND STEWART.
family, besides guitars, drums and flutes. In
John Osborn, one of Crehore's cleverest ap-
1792 he exhibited a harpsichord with improve- prentices, began business for himself in 1S15, at
ments suggested by the pianoforte, and from 3 Newbury street, Boston. He became noted
this date forward became known as a repairer of for the superiority of his pianos, and in 1819
these instruments from the mechanical stand- succeeded in introducing his instruments into
point. He became acquainted with Von Hagen, general notice in New York and Philadelphia,
an excellent musician, who posed as a tuner in la that year he moved to Orange street, where
his time, and it is probable that Von Hagen was he had in his shop, as apprentices, such sub-
connected with the production of Crehore's sequently eminent men as Jonas Chickering,
initial instrument. Von Hagen, in 1801, sold Lemanual and Timothy Gilbert. John Osborn,
Crehore's pianofortes in his store on Common from 1815 up to 1835, when he died in New York,
street in conjunction with imported instruments, was one of the leading makers in the United
and continued in actual partnership with him States.
up to 1807.
James Stewart, a Scotchman, who emigrated
CREHORE'S CONTEMPORARIES.
to Baltimore, in 1812, and learned piano-making
Crehore was not the only person in the mean- of the Harpers, in that city, came to Boston in
time that made pianos in Boston. In the city 1820 and became a partner of Osborn's. After a
directory for 1798 the name of " Bent & Green, short time with Osborn, Stewart and he quar-
musical instrument makers, 90 Newbury street,'' relled, whereupon they separated.
appear. In 1800 this firm name disappeared,
The superior skill of Jonas Chickering, then
and "William & Adam Bent, musical instru- in OsSorn's shop, had been observed by Stewart,
ment makers, 26 Orange street," took its place, with the result that he induced Jonas Chicker-
which was succeeded by William Bent at the ing to become his partner in starting an inde-
same address in 1807.
pendent business.
THE TRAINING SHOP OF MANY BRIGHT LIGHTS.
And who can deny that the "American"
pianoforte deserves that distinctive title just as
legitimately as the reed organ, or harmonium,
which, in the abstract, like the piano, derived
from Europe, is entitled to be known as the
" American " organ, because in both cases these
instruments are constructed in many particulars
somewhat different to French, German or English
organs and pianos.
Benjamin Crehore, who undoubtedly is entitled
to the honor of being considered the first maker
of pianofortes in New England, survived the
Bents. His workshop in Milton was the train-
ing school for such bright lights in our history
as John Osborn and the two Babcock brothers,
Lewis and Alpheus. The latter was taught
tuning by Von Hagen, and after 1805 made this
a specialty.
Crehore did not live in vain by any means.
SPINETS MADE IN BOSTON IN 1770.
The success that attended the manufacture of His shop, humble though it was, and entirely
church organs in Boston acted as an incentive to bare of technical examples of any value, brought
enterprising men to compete with other imported forth many noted men. Crehore was born in
musical luxuries of the day. Hence it was not Milton, and died in his native village in 1819,
surprising that the Boston Gazette for February, after a useful life, poor and forgotten.
1770, should speak of an excellent spinet that
THE FIRST PATENT RELATING TO PIANOS.
had just been finished by a resident of the city,
Francis Shaw was another maker, who came
" which, for goodness of workmanship and har- to Boston about 1804, and began to make pianos
mony of sound, is esteemed by the best judges on Chambers street. A Gazette announcement
to be superior to any that has been imported speaks, in 1804, of "the arrival in Boston of an
from Europe.''
expert pianoforte and musical instrument maker
This is about the first mention of anything from London." Shaw holds a significant place
approaching the making of pianos during the in early Boston records, for he took out the first
end of the last century.
patent relating to improvements in pianofortes,
or to musical instruments of any kind, ever
PIANOS IN FAVOR AFTER THE REVOLUTION.
Passing from the revolutionary epoch, toward granted by the National Government to a resi-
1790, the pianoforte superseded the harpsichord dent of Massachusetts. This patent was issued
in the drawing-rooms of those rich Boston on July 2d, 1806.
families that aimed at personally simulating, if
THE BABCOCKS AND APPLETON.
not at really promoting an appreciation of musi-
In 1810 the Babcocks began making piano-
cal art. According to a newspaper extract of fortes in a small workshop at 44 Newbury street,
1791 there were upward of twenty-seven piano- Boston. In 1813 Thomas Appleton was taken
fortes to be found in the houses of rich Boston into partnership by the Babcock Brothers for the
merchants. These were all London-made instru- purpose of combining pipe organ manufacturing
ments and were imported by general merchants with pianos, Appleton being the organ specialist
along with other goods of a miscellaneous char- of the trio.
acter from time to time since 1786.
In 1815 the Babcocks and Appleton, then at
The Marquis de Chastellux, in his written 18 Winter street, were joined by the Hoyts
impressions of a visit to Boston in 1780, noted Brothers, when the firm of Hoyts, Babcock &
with some astonishment that he saw pianofortes Appleton was started. Presently they moved
in the drawing-rooms of that city.
to a large building on Milk street, said to be the
THE FIRST PIANO MADE IN NEW ENGLAND.
Regarding the initial manufacture of pianos in
site of Franklin's birthplace, where they carried
on business until 1819, when they dissolved
THE FOUNDING OF A FAMOUS HOUSE.
•
"
Many ridiculous stories as to Jonas Chicker-
ing % s entree into the pianoforte business have
gone the "rounds," the facts are, however, that
Jonas Chickering learned cabinet-making in
Ipswich, N. H., where he was born. He soon
turred toward the city of Boston, and here
became employed in Osborn's shop, and form-
ally acquired a knowledge of pianoforte mak-
ing. In 1823 Stewart & Chickering made their
appearance on Tremont street. Next year they
moved to 20 Common street, where they were
located until 1826, when Stewart went to Lon-
don. Later the firm of Chickering & Mackay
was formed. Mackay was a wealthy business
man of considerable ability, and, it is said, that
as early as 1839 Chickering & Mackay had pene-
trated every commercial point available for the
sale of their instruments, and succeeded in estab-
lishing the first agencies through the country,
thus becoming the pioneers of the music trade.
Owing to the death of Captain Mackay, in 1841,
Mr. Chickering devoted himself more to the
business ol the house until his sons were able
to assume the responsibility, when the firm be-
came Chickering & Sons.
WHAT WE OWE JONAS CHICKERING.
Jonas Chickering, after a useful and exemplary
life, died on December 8th, 1853. His eminent
labors toward the development of the American
pianoforte are too well known to the world to
need eulogy or detailed reference. His full iron
frame formed the foundation of the reputation
which the American grand piano has achieved
throughout the world. His several other inven-
tions contributed powerfully to the sonority,
depth and beauty of tone of these instruments.
This was emphasized at the World's Fair, in Lon •
don, and also the Paris Exposition in 1867, where
the Chickering pianos were awarded the highest
possible honor, the '' Imperial Cross of the
Legion of Honor." American musical effort
owes much to the enterprising genius of the
house of Chickering. Jonas Chickering was