The Geib Company was a family business which under various partnership names, produced and sold pianofortes, organs, and sheet music in New York City in the nineteenth century.
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Following a bankruptcy, he partnered with his son John Jr. to operate Geib & Son, building organs and pianofortes until 1814. John Jr. had another partnership with brother Adam as J. & A. Geib from 1804–08 and again 1816–17.
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1708 - An Improvement in Pianofortes, June 26, 1865 Abridgments of Specifications relating to Music and Musical Instruments. A. D. 1694-1866 second edition. Office of the Commissioners of Patents for Inventions, London 1871 p.448-449 both historians also identified Henry as the oldest brother.
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In 1862 his widow was awarded ₤4,660 in damages. In 1864 M. Gunn and Sons moved to a large location at 16 Grafton Street in downtown Dublin. They advertised "the finest collection of pianofortes ever brought together in Ireland". The company opened a branch in Cork in 1869.
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There he made mostly physharmonicas, bellows-operated wind instruments, each of which also had a large manual keyboard. For a physharmonica with built-in terpodion he won the Great Gold Medal at the Hamburg Arts and Trades Exhibition of 1838. Terpodions, tuningadds and pianofortes ware also built. He died in Hamburg in 1864.
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In this 2016 project, Bram De Looze played on a collection of Pleyel, Erard, and Anton Walter pianofortes from Belgian piano builder Chris Maene. The project explored the textures, tunings, and temperaments of historical 19th century pianos by combining both contemporary improvised influences and the historical classical repertoires associated with these pianos.
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Americus built both harpsichords and pianofortes. He is described by composer, musician and chronicler Charles Burney in Rees's Cyclopaedia for 1772 as "a harpsichord maker of second rank, who constructed several pianofortes, and improved the mechanism in some particulars, but the tone, with all the delicacy of Schroeter's (see below) touch, lost the spirit of the harpsichord and gained nothing in sweetness". Nevertheless, one of his harpsichords was owned and played by the naturalized English castrato, Giusto Ferdinando Tenducci, an intimate friend of Johann Christian Bach and an associate of world-renowned castrato Gaspare Pacchierotti, a regular visitor to London between 1778 and 1791. Tenducci published a set of sonatas for the harpsichord or pianoforte not heard since the 18th century.
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In Kirchheim unter Teck industrialization began early. By 1911 the manufactured goods included cotton goods, damask, pianofortes, machinery, furniture, chemicals, cement and gliders. The town also had wool-spinning establishments and breweries and a corn exchange. It was the most important wool market in South Germany, and also had a trade in fruit, timber and pigs.
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One of the combined harpsichord-pianofortes that Merlin manufactured may have been owned by Empress Catherine the Great. A harpsichord-piano from 1779 is in the collection of the Museum of Fine Arts, Boston, and one from 1780 is in Munich's Deutsches Museum. Merlin also experimented with violins and violas. Merlin moved in increasingly illustrious circles, socializing with Londoners from the gentry and nobility.
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Michael Gunn, the father of Michael Ralph Thomas Gunn, moved to Dublin from Scotland and began work as a piano tuner. His wife Elle was a corsetière. They settled in Fleet Street, where their sons John and Michael were born in 1832 and 1840. They spent three years in Clare Street then in 1850 opened a business at 13 Westland Row selling pianofortes and harmoniums.
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George Catlin (1778-1852) was a prominent American maker of musical instruments. He worked in Hartford, Connecticut from 1799 or earlier until about 1814, when he moved to Philadelphia, Pennsylvania. According to his advertisements in Connecticut newspapers he made pianofortes, harpsichords, violoncellos, guitars, bassoons, clarinets, "hautboys" (oboes), flutes, and fifes.Robert E. Eliason, "George Catlin, Hartford Musical Instrument Maker (Part 2)," Journal of the American Musical Instrument Society, vol.
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91 referring to an 1842 patent by this manufacturer that Edgar Brinsmead dubbed the "tape-check action" in the 1879 edition of his History of the Pianoforte,Edgar Brinsmead History of the Pianoforte Novello, Ewer & Co. London 1879. p.167 in which the last claim was for methods coupling the damper and hammer.Robert Wornum "Pianofortes" English Patent No. 9,262 enrolled August 15, 1842 The same year Gilbert was assigned tuner Edwin Fobes' patent for manufacturing hammers with a layer of soft leather covering a block of cork glued to the top portion of the hammer molding.Edwin Fobes "Manner of constructing the Hammer-heads used in Pianofortes" United States Patent no. 1,971 February 10, 1841 Gilbert also licensed the Aeolian attachment patented by independent mechanic Obed. Coleman in 1844, which fitted a simple reed organ onto the bottom plank of an ordinary square piano, arranged to be played directly by the keys of the piano.
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Victor Hugo Mathushek, Piano-forte. United States Patent 447,963, March 10, 1891 ; V. H. Mathushek, Sounding Board for Stringed Instruments. United States Patent 534,900 February 26, 1895; V. H. Mathushek, Metallic Frame for Pianofortes. United States Patent 556,273, March 10, 1896 Mathushek & Son piano factory, corner of Broadway and 47th st. ca. 1903Mathushek & Son's factory and warerooms were at 1569 Broadway, at the corner of 47th street, New York in 1900,advertisement.
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In 1836 Conness arrived in the United States at age 15 as an immigrant. For more than a decade on the East Coast in New York, Conness learned to make pianofortes and also worked as a merchant. He emigrated to California in 1849 to join the excitement and promise of the Gold Rush. He was among the thousands of "forty-niners" attracted by the Gold Rush in the Sierra Nevada, and the hundreds of thousands who quickly followed.
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Many professional Jewish musicians were highly impressed by Gusikov. Ferdinand Hiller wrote him a recommendation to Giacomo Meyerbeer. Felix Mendelssohn wrote to his family in 1836: 'I am curious to know whether Gusikow pleased you as much as he did me. He is quite a phenomenon; a famous fellow, inferior to no virtuoso in the world, both in execution and feeling; he therefore delights me more with his instrument of wood and straw than many with their pianofortes.
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In order to let Beethoven's original instruments not only be heard in concerts, the Beethoven- Haus started a CD series. Renowned musicians such as Tabea Zimmermann, Daniel Sepec, the Schuppanzigh quartet, Jörg Demus and Andreas Staier perform compositions from Beethoven and his contemporaries on Beethoven's string instruments and pianofortes from Broadwood and Graf. Also documented herein are Pablo Casals's legendary visits at the Beethoven-Haus in 1955 and 1958 when he played on Beethoven's violoncello.Michael Ladenburger u. a.
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The Royal George Mill, owned by the Whitehead family, manufactured felt used for pianofortes, billiard tables and flags. Following the Great Depression Saddleworth's textile sector declined. Much of Saddleworth's architecture and infrastructure dates from its textile processing days however, notably the Saddleworth Viaduct and several cottages and terraces, many built by the local mill owners. For centuries Saddleworth was linked, ecclesiastically, with the parish of Rochdale and was long talked of as the part of Yorkshire where Lancastrians lived.
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As of 1911, Hettstedt engaged in the manufacture of machinery, pianofortes, and artificial manure, and the surrounding district and villages were occupied with smelting due to the nearby mines of argentiferous copper. Other products included silver, sulphuric acid, and small quantities of nickel and gold. In the Kaiser Friedrich mine close by, the first steam engine in Germany was erected on 23 August 1785. Hettstedt is mentioned as early as 1046; in 1220 it possessed a castle; in 1380 it received civic privileges.
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His compositions include a concerto in D minor for pianoforte and orchestra,announced as to be performed January 6, 1889 at the Peabody Institute. See Musical Yearbook of the United States (bottom of page, beginning of next page). Published 1890 by F. Luckhardt in reduction- see . a ballade for pianoforte, an arrangement for pianoforte and orchestra of Liszt's Concerto Pathétique for two pianofortes, “The Chase After Fortune” (described as a “symphonic fantasy”) for orchestra, and a reorchestration of Chopin's F-minor Piano Concerto.
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Class XVI Musical Instruments International Exhibition, 1862: Medals and Honourable Mentions awarded by the International Juries second edition George Edward Eyre and William Spottiswoode, London 1862 p. 217-221 They exhibited a piccolo upright, as well as moderately priced downstriking grand and square pianos without metal bracings at the 1867 Universal Exposition in Paris,Frederick Clay "Report upon Musical Instruments (Class 10) - Pianofortes" Reports on the Paris Exhibition, 1867 vol. 2. George E. Eyer and William Spottiswoode, London. 1868 p.
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Alfred Nicholson Wornum, An Improvement in the piano forte. No. 1148, 19 April 1862 "Improvements in pianofortes" Abridgments of Specifications relating to Music and Musical Instruments. A. D. 1694-1866 second edition. Office of the Commissioners of Patents for Inventions, London 1871 pp. 370-371 Robert Wornum & Sons exhibited cottage and grand pianos as well as their "folding" square at the 1862 International Exhibition in London,John Timbs The Industry, Science, & Art of the age: Or, The International Exhibition of 1862 Popularly Described from its Origin to its Close Lockwood & Co. London, 1863 p.
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358 and two double actions with additional levers mounted to a second rail for operating the dampers as well as checks for the hammer. The first of these was arranged like the action from his 1811 patent with the backward facing escapement on the key operating the check lever wire; in the second the check lever wire was operated by the sticker. The sticker was pinned to the underside of another lever, hinged to the hammer rail and carrying the escapement.Robert Wornum, Improvements in pianofortes. No. 5384, 4 July 1826 Abridgments of Specifications relating to Music and Musical Instruments.
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Ringer, pp. 744–5 Much of Dussek's piano writing drew upon the more modulable and powerful tonal qualities and greater keyboard range of English-manufactured pianofortes. The enhanced possibilities offered by the instrument help explain some of his stylistic innovations. Dussek wrote numerous solo piano works, including 34 Piano Sonatas as well as a number of programmatic compositions. His The Sufferings of the Queen of France (composed in 1793, C 98), for example, is an episodic account of Marie Antoinette with interpolated texts relating to the Queen's misfortunes, including her sorrow at being separated from her children and her final moments on the scaffold before the guillotine.
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EB says he built his first pianoforte in 1780. 1914 Érard upright piano made in London Before he was twenty-five he set up in business for himself, his first workshop being a room in the hotel of the duchesse de Villeroi, who gave him warm encouragement. He built his first pianoforte in 1777 in his Paris factory, relocating fifteen years later to premises in London's Great Marlborough Street to escape the French Revolution - his increasing fame and several commissions for the likes of Louis XVI and Marie Antoinette having placed him at risk. Returning to Paris in 1796, he soon afterwards introduced grand pianofortes, made in the English fashion, with improvements of his own.
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The cultural life in Helenendorf began with the formation in 1893 of the German Society (Deutscher Verein), originally a male club with a library, a reading room and a bowling alley. Later on, the amateur wind and string orchestras and the theater studio were organized, which held concerts and performances both in the hall of the society, where up to 400 spectators could be accommodated, and at various festive events, including in the public garden of Helendorf. In 1930, a music school was opened with classes of pianofortes and stringed instruments. Various festivals, which gathered musical groups from all the Transcaucasian colonies were often held in Helenendorf (by the 1930s there were 21 colonies).
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In 1794 he engraved the Plan of the City of Albany, and in 1798 profiles of members of the House of Assembly. From February 1796 to 1817 he was in partnership with his brother, George Hutton, as I & G HUTTON, and on September 30, 1796, advertised in The Albany Gazette: "Three Silver Smiths, May have constant employ in a very shop, and prompt pay, by application immediately to I. & G. HUTTON, No 32, Market Street." They created the seal for Union College, in Schenectady, New York, for which they were paid in November 1796. During the War of 1812, the Huttons sold silver and other items for military use, including silver accoutrements and fittings, gunpowder, regimental drums, and even pianofortes, and sheep wool.
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119-120 but with its spring mounted on the sticker instead of the lower part of the escapement. A fixed hammer return spring was not shown, and apparently in its place a spring was mounted on the hopper and worked against the hammer butt to prevent the hammer "from dancing after the hand is off the key". Two years later Wornum patented an improvement to the sticker action with a button mounted at the end of the key made to check against an extension of the back end of the lower lever of the sticker in order to prevent unwanted movement of the hammers after each blow against the strings.Robert Wornum "Improvements on upright pianofortes" No 5678 24 July 1828 No. 5678 Abridgments of Specifications relating to Music and Musical Instruments.
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An Érard harp Erard harp mechanism Tuning of Erard harp (using Korg OT-120 Wide 8 Octave Orchestral Digital Tuner) In November 1794 Érard filed the first English patent for a harp (Improvements in Pianofortes and Harps, patent no. 2016), a greatly refined single-action instrument (tuned in E flat) that could be played in eight major and five minor keys thanks to its ingenious fork mechanism which allowed the strings to be shortened by a semitone. Érard's "double movement" seven-pedal action for the harp (perfected and patented in the summer of 1810, Patent no 3332) allows each string to be shortened by one or two semitones, creating a whole tone. This mechanism, still used by modern pedal-harp makers, allows a harpist to perform in any key or chromatic setting.
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A Treatise on the Principal Trades and Manufactures of the United States. Edward Young, Philadelphia 1856 p.440-441 The 1848 article also stated the firm employed about sixty workers, and had manufactured between 3,000 and 4,000 pianos, upwards 500 of them with the Aeolian attachment. In 1847 Gilbert patented a cast iron frame for grand pianos with the ordinary resisting bars combined with bars perpendicular to the strings—one of which was to be connected with the front edge of the sounding board—in order to prevent the case sides from twisting,Timothy Gilbert "Metallic Frame for Pianofortes" United States Patent no. 5,202 July 24, 1847 as well as a double action for horizontal pianos with springs meant to support the weight of the hammers and dampers in order to lighten the touch of the keys.
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15 A reporter for the Journal of the Society of Arts on the Second Annual International Exhibition held in London in 1872, however, described the tone of the wooden frame pianos the firm displayed as "sweet, but hardly full or forcible enough.""International Exhibition, 1872" Journal of the Society of Arts vol. XX no. 1,038 (11 October 1872) Bell and Daldy, London 1872 p. 890 A. N. Wornum patented further improvements in grands in 1875, introducing hammers with reversed orientation in order to permit longer strings relative to the size of the piano,Catalogue of the Special Loan Collection p. 164 and the firm displayed short ("under six foot") and full size ("8 feet") "Iron Grand Pianofortes" on this plan, along with a piccolo upright at the 1878 Universal Exposition in Paris,"Class 14 - Musical Instruments" Official Catalogue of the British Section part I, second edition.
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In the opinion of expert students of the works of Jane Austen, Pride and Prejudice showcases two brand new Americus Backers pianofortes - one purchased by Mr. Darcy for his sister and the other in the "fine modern house" of his aunt, Lady Catherine. Remember that we see Jane Austen's work as historical fiction but she was writing about the height of modern fashion as she saw it. We are intended to envy and to admire her characters who were fashion leaders in the highest society whose new Palladian residences were commissioned with the sole purpose of impressing house guests, to which end they were filled with the very utmost in furnishings and fittings that London and the British Empire has to offer, including the novelty of a brand new class of musical instrument - the piano. So a Backers piano is intended to imply the owner is at the cutting edge of fashion with the taste and disposable funds that make them the leaders and most enviable members of high society.
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By the early 19th century, the Irish harp and its music were for all intents and purposes dead. Tunes from the harping tradition survived only as unharmonised melodies which had been picked up by the folkloric tradition, or were preserved as notated in collections such as Edward Bunting's, (he attended the Belfast Harp Festival in 1792) in which the tunes were most often modified to make them fit for the drawing room pianofortes of the Anglicised middle and upper classes. The first generations of 20th century revivalists, mostly playing the gut-strung (frequently replaced with nylon after the Second World War) neo-Celtic harp with the pads of their fingers rather than the old brass-strung harp plucked with long fingernails, tended to take the dance tunes and song airs of Irish traditional music, along with such old harp tunes as they could find, and applied to them techniques derived from the orchestral (pedal) harp and an approach to rhythm, arrangement, and tempo that often had more in common with mainstream classical music than with either the old harping tradition or the living tradition of Irish music. A separate Belfast tradition of harp-accompanied folk-singing was preserved by the McPeake Family.
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