Music Trade Review
Issue: 1896 Vol. 23 N. 19 - Page 13
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THE MUSIC TRADE REVIEW
instruments of^'Yeolden Time." ^ Popular Pease flan—Looks Like Tom Reed
QUAINT AND CURIOUS CREATIONS BEAUTI-
FULLY DECORATED HARPSICHORDS AND
SPINETS PIANO BY CRISTOFORI
MADE IN I 720.
MONG the valuable additions recent-
ly made to the Metropolitan Museum
collection of musical instruments, four of
them call for special mention, and are of
the utmost interest to musicologists.
In the J. Crosby Brown galleries, 27 and
28, which contain one thousand two hun-
dred specimens of musical instruments of
every possible description, a most well-pre-
served double-banked harpsichord, made in
Paris by Louis Ballot, first attracts our at-
tention. It is ninety-eight inches long and
thirty eight wide. The beautiful painting
which ornaments both sides of the lid as
well as the soundboard is due to the brush
of Martin Vernet The tints of the flowers
seem as fresh as had they been painted this
year. The shape of the instrument, which
rests on seven tastefully ornamented legs,
is exceedingly graceful.
Each bank contains thirty-four natural
keys and twenty-four sharps. We were un-
able to discover for whom this splendid
harpsichord had originally been constructed.
As the ornamentation is in the style Louis
XVI., it is not impossible that it may have
adorned the Palais de Versailles, and that
the dainty fingers of the beautiful Marie
Antoinette at one time glided over the
ivories. The mechanism is apparently in
perfect order; and the richly and artistical-
ly decorated case is in direct contrast with
a very plain and antiquated looking in-
strument which stands near by, but which
is the most interesting feature of the col-
lection, namely, the earliest specimen of
a pianoforte in evidence.
The instrument was manufactured by
Bartolomeo di Cristofori of Padua, in 1720.
Only one other similar instrument, and
bearing the date 1726, is still in existence,
and may be seen in the Dresden Museum.
According to the highest and most reli-
able authority, it has long since been fully
and conclusively demonstrated that Cristo-
fori, who died in 1731, constructed the
earliest specimen of piano; and although at
various times it has been asserted that a
German competitor, Silbermann, was en-
titled to that distinction, it is now a well-
established fact that the latter's instruments
were simply copies of the Cristoforis.
Up to 1709 Cristofori had made four
pianos in Florence. How much time and
labor he devoted to the construction of one
of those instruments might cause our mod-
ern manufacturers some amusement, were
they not aware that they owe everything to
his early efforts and researches.
The piano now on exhibition at the Met-
ropolitan Museum formerly belonged to
Signora Ernesto Mocenni Martelli, of Flor-
ence. It was acquired by Mrs. J. Crosby
Brown in 1895. Like the usual Italian
harpsichord, it is in a very plain paneled
outer case, and is of four and half octaves.
It is seven and one-fourth feet long, and
three feet five inches wide. Upon the
A
C. H. MACDONALI).
And like Reed too, he did some great big work for McKinley and sound money.
board which serves as the hammer-beam
you find the following inscription: Bar-
tolomaeus de Cristoforis Patavanius In-
ventor faciebat Florentia MDCCXX. "
Next to this venerable instrument, an
Italian upright harpsichord claims our at-
tention. The following illustration gives
an excellent conception of its peculiar
elaboration: A picture representing King
David playing upon a harp, and a group of
angels are admirably painted.
In the opposite gallery a double spinet
made in Flanders, and bearing the date
1600, is well worth consideration. This
curious instrument has a jack and quill
attachment, which plucks the strings like
a guitar.
It is said that Queen Elizabeth, who had
the reputation of being an excellent per-
former, frequently played on it, says the
' Pianist." This is not at all improbable, as
spinets were not numerous in those days;
and possibly this one may have been con-
structed for Her Majesty, or for her sister/
Queen Mary, who was also an accom-
plished player. Although this musical
relic doubtless underwent frequent repairs,
there are sufficient traces left to thorough-
ly establish the authenticity of its antique
origin. Beneath the two keyboards the
following inscription is inlaid on the panel:
"Sciencia non Habet Inimicum Nisi Ig-
norantium." The painting inside the cover
represents the combat of David and Go-
liath and the triumph of David, who is re-
ceived with enthusiasm by the people with
music and flowers.
The soundboard is plainly decorated, and
displays the initials L. G. (Ludovico Grove-
lius).
It is not without a certain reverential
feeling that we gaze at all these historical
instruments, the strings of which have no
doubt delighted many by-gone generations.
If they could only speak, they might relate
many interesting incidents which have long
since been forgotten, but of which they are
now the only remaining witnesses.
Bothner Actions.
URING the REVIEW'S peregrinations,
the subject of piano actions often
crops up. We have frequently listened
to eulogistic expressions in reference to
the Bothner actions, and from our personal
knowledge can testify as to their excellence
and reliability.
Geo. Bothner, Jr., is expected back from
a Chicago trip, early next week; he writes
favorably of trade indications in that
quarter.
D
The Boston Felting Co.
HE Boston Felting Co., 39 Lincoln
street, Boston, which is under the
management of Fred J. Brand, can be
fittingly characterized as one of the go-
ahead houses in the trade. They are build-
ing up a very satisfactory business in piano
and organ felts and are constantly adding
to their large roster of customers. Mr.
Brand deserves the success which is coming
his way. He is what may be properly
termed an Ai hustler, and is well-fitted to
develop a still larger business for his firm
now that trade conditions are more favor-
able. ~
T
THE MUSIC TRADE REVIEW
instruments of^'Yeolden Time." ^ Popular Pease flan—Looks Like Tom Reed
QUAINT AND CURIOUS CREATIONS BEAUTI-
FULLY DECORATED HARPSICHORDS AND
SPINETS PIANO BY CRISTOFORI
MADE IN I 720.
MONG the valuable additions recent-
ly made to the Metropolitan Museum
collection of musical instruments, four of
them call for special mention, and are of
the utmost interest to musicologists.
In the J. Crosby Brown galleries, 27 and
28, which contain one thousand two hun-
dred specimens of musical instruments of
every possible description, a most well-pre-
served double-banked harpsichord, made in
Paris by Louis Ballot, first attracts our at-
tention. It is ninety-eight inches long and
thirty eight wide. The beautiful painting
which ornaments both sides of the lid as
well as the soundboard is due to the brush
of Martin Vernet The tints of the flowers
seem as fresh as had they been painted this
year. The shape of the instrument, which
rests on seven tastefully ornamented legs,
is exceedingly graceful.
Each bank contains thirty-four natural
keys and twenty-four sharps. We were un-
able to discover for whom this splendid
harpsichord had originally been constructed.
As the ornamentation is in the style Louis
XVI., it is not impossible that it may have
adorned the Palais de Versailles, and that
the dainty fingers of the beautiful Marie
Antoinette at one time glided over the
ivories. The mechanism is apparently in
perfect order; and the richly and artistical-
ly decorated case is in direct contrast with
a very plain and antiquated looking in-
strument which stands near by, but which
is the most interesting feature of the col-
lection, namely, the earliest specimen of
a pianoforte in evidence.
The instrument was manufactured by
Bartolomeo di Cristofori of Padua, in 1720.
Only one other similar instrument, and
bearing the date 1726, is still in existence,
and may be seen in the Dresden Museum.
According to the highest and most reli-
able authority, it has long since been fully
and conclusively demonstrated that Cristo-
fori, who died in 1731, constructed the
earliest specimen of piano; and although at
various times it has been asserted that a
German competitor, Silbermann, was en-
titled to that distinction, it is now a well-
established fact that the latter's instruments
were simply copies of the Cristoforis.
Up to 1709 Cristofori had made four
pianos in Florence. How much time and
labor he devoted to the construction of one
of those instruments might cause our mod-
ern manufacturers some amusement, were
they not aware that they owe everything to
his early efforts and researches.
The piano now on exhibition at the Met-
ropolitan Museum formerly belonged to
Signora Ernesto Mocenni Martelli, of Flor-
ence. It was acquired by Mrs. J. Crosby
Brown in 1895. Like the usual Italian
harpsichord, it is in a very plain paneled
outer case, and is of four and half octaves.
It is seven and one-fourth feet long, and
three feet five inches wide. Upon the
A
C. H. MACDONALI).
And like Reed too, he did some great big work for McKinley and sound money.
board which serves as the hammer-beam
you find the following inscription: Bar-
tolomaeus de Cristoforis Patavanius In-
ventor faciebat Florentia MDCCXX. "
Next to this venerable instrument, an
Italian upright harpsichord claims our at-
tention. The following illustration gives
an excellent conception of its peculiar
elaboration: A picture representing King
David playing upon a harp, and a group of
angels are admirably painted.
In the opposite gallery a double spinet
made in Flanders, and bearing the date
1600, is well worth consideration. This
curious instrument has a jack and quill
attachment, which plucks the strings like
a guitar.
It is said that Queen Elizabeth, who had
the reputation of being an excellent per-
former, frequently played on it, says the
' Pianist." This is not at all improbable, as
spinets were not numerous in those days;
and possibly this one may have been con-
structed for Her Majesty, or for her sister/
Queen Mary, who was also an accom-
plished player. Although this musical
relic doubtless underwent frequent repairs,
there are sufficient traces left to thorough-
ly establish the authenticity of its antique
origin. Beneath the two keyboards the
following inscription is inlaid on the panel:
"Sciencia non Habet Inimicum Nisi Ig-
norantium." The painting inside the cover
represents the combat of David and Go-
liath and the triumph of David, who is re-
ceived with enthusiasm by the people with
music and flowers.
The soundboard is plainly decorated, and
displays the initials L. G. (Ludovico Grove-
lius).
It is not without a certain reverential
feeling that we gaze at all these historical
instruments, the strings of which have no
doubt delighted many by-gone generations.
If they could only speak, they might relate
many interesting incidents which have long
since been forgotten, but of which they are
now the only remaining witnesses.
Bothner Actions.
URING the REVIEW'S peregrinations,
the subject of piano actions often
crops up. We have frequently listened
to eulogistic expressions in reference to
the Bothner actions, and from our personal
knowledge can testify as to their excellence
and reliability.
Geo. Bothner, Jr., is expected back from
a Chicago trip, early next week; he writes
favorably of trade indications in that
quarter.
D
The Boston Felting Co.
HE Boston Felting Co., 39 Lincoln
street, Boston, which is under the
management of Fred J. Brand, can be
fittingly characterized as one of the go-
ahead houses in the trade. They are build-
ing up a very satisfactory business in piano
and organ felts and are constantly adding
to their large roster of customers. Mr.
Brand deserves the success which is coming
his way. He is what may be properly
termed an Ai hustler, and is well-fitted to
develop a still larger business for his firm
now that trade conditions are more favor-
able. ~
T
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