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1785-1998 September 1998
THE EVOLUTION OF THE BROADWOOD GRAND PIANO 1785-1998 by Alastair Laurence DPhil. University of York Department of Music September 1998 Broadwood Grand Piano of 1801 (Finchcocks Collection, Goudhurst, Kent) Abstract: The Evolution of the Broadwood Grand Piano, 1785-1998 This dissertation describes the way in which one company's product - the grand piano - evolved over a period of two hundred and thirteen years. The account begins by tracing the origins of the English grand, then proceeds with a description of the earliest surviving models by Broadwood, dating from the late eighteenth century. Next follows an examination of John Broadwood and Sons' piano production methods in London during the early nineteenth century, and the transition from small-scale workshop to large factory is noted. The dissertation then proceeds to record in detail the many small changes to grand design which took place as the nineteenth century progressed, ranging from the extension of the keyboard compass, to the introduction of novel technical features such as the famous Broadwood barless steel frame. The dissertation concludes by charting the survival of the Broadwood grand piano since 1914, and records the numerous difficulties which have faced the long-established company during the present century. The unique feature of this dissertation is the way in which much of the information it contains has been collected as a result of the writer's own practical involvement in piano making, tuning and restoring over a period of thirty years; he has had the opportunity to examine many different kinds of Broadwood grand from a variety of historical periods. -
Guide to the Steinway & Sons Records and Family Papers
Guide to the Steinway & Sons Records and Family Papers NMAH.AC.0178 John Fleckner August 1, 2008 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 3 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: William Steinway Diary, 1861-1896.......................................................... 5 Series 2: Steinway Business Records, 1858-1910................................................ 10 Series 3: Steinway Family Materials, 1877-1882................................................... 14 Series 4: Rev. Bathholomew Krüsi Materials, 1857-1919..................................... -
Creating a Roadmap for the Future of Music at the Smithsonian
Creating a Roadmap for the Future of Music at the Smithsonian A summary of the main discussion points generated at a two-day conference organized by the Smithsonian Music group, a pan- Institutional committee, with the support of Grand Challenges Consortia Level One funding June 2012 Produced by the Office of Policy and Analysis (OP&A) Contents Acknowledgements .................................................................................................................................. 3 Introduction ................................................................................................................................................ 4 Background ............................................................................................................................................ 4 Conference Participants ..................................................................................................................... 5 Report Structure and Other Conference Records ............................................................................ 7 Key Takeaway ........................................................................................................................................... 8 Smithsonian Music: Locus of Leadership and an Integrated Approach .............................. 8 Conference Proceedings ...................................................................................................................... 10 Remarks from SI Leadership ........................................................................................................ -
NOVEMBER 2020 COMPLIMENTARY GUIDE Catskillregionguide.Com
Catskill Mountain Region NOVEMBER 2020 COMPLIMENTARY GUIDE catskillregionguide.com WELCOME HOME TO THE CATSKILL MOUNTAINS! With a Special Section: Visit Woodstock November 2020 • GUIDE 1 2 • www.catskillregionguide.com IN THIS ISSUE www.catskillregionguide.com VOLUME 35, NUMBER 11 November 2020 PUBLISHERS Peter Finn, Chairman, Catskill Mountain Foundation Sarah Finn, President, Catskill Mountain Foundation EDITORIAL DIRECTOR, CATSKILL MOUNTAIN FOUNDATION Sarah Taft ADVERTISING SALES Barbara Cobb Steve Friedman CONTRIBUTING WRITERS & ARTISTS Benedetta Barbaro, Darla Bjork, Rita Gentile, Liz Innvar, Joan Oldknow, Jeff Senterman, Sarah Taft, Margaret Donsbach Tomlinson & Robert Tomlinson ADMINISTRATION & FINANCE Candy McKee On the cover: The Ashokan Reservoir. Photo by Fran Driscoll, francisxdriscoll.com Justin McGowan & Emily Morse PRINTING Catskill Mountain Printing Services 4 A CATSKILLS WELCOME TO THE GRAF PIANO DISTRIBUTION By Joan Oldknow & Sarah Taft Catskill Mountain Foundation 12 ART & POETRY BY RITA GENTILE EDITORIAL DEADLINE FOR NEXT ISSUE: November 10 The Catskill Mountain Region Guide is published 12 times a year 13 TODAY BUILDS TOMORROW: by the Catskill Mountain Foundation, Inc., Main Street, PO Box How to Build the Future We Want: The Fear Factor 924, Hunter, NY 12442. If you have events or programs that you would like to have covered, please send them by e-mail to tafts@ By Robert Tomlinson catskillmtn.org. Please be sure to furnish a contact name and in- clude your address, telephone, fax, and e-mail information on all correspondence. For editorial and photo submission guidelines 14 VISIT WOODSTOCK send a request via e-mail to [email protected]. The liability of the publisher for any error for which it may be held legally responsible will not exceed the cost of space ordered WELCOME HOME TO THE CATSKILL MOUNTAINS! or occupied by the error. -
Steinway & Sons
Revised January 21, 1997 Steinway & Sons (A) A Steinway is a Steinway. There is no such thing as a “better” Steinway. Each and every Steinway is the best Steinway. Theodore Steinway The 1990s was a period of change for the music industry. Foreign competition in the mid-price upright piano market was intense. In addition to well-entrenched players from Japan (Yamaha and Kawai), two South Korean firms (Young Chang and Samick), were emerging as competitors. Moreover, Yamaha and Young Chang had already established a presence in China. Forecasts indicated that the future growth market for pianos will be concentrated in Asia. This case discusses Steinway & Sons’ history, the evolution of its value system, and the current market conditions facing the firm. It highlights the issues faced by Steinway & Sons as its top management formulates its strategy toward the growing Chinese piano market. COMPANY BACKGROUND The Steinway Family Years — 1853 to 1971 Steinway & Sons was founded in 1853 by Henry E. Steinway, Sr. and his sons, Henry Jr., Charles, and William. In 1854 the firm entered and won its first competition. A year later it won first prize at the American Institute Fair in New York. By 1860 Steinway & Sons built a manufacturing facility at 52nd Street and Fourth (now Park) Avenue, on the site now occupied by the the Seagrams Building. Here 350 men produced 30 square pianos and five grands per week. In 1864 the firm opened a showroom on 14th Street. In 1865 sales topped $1,000,000. From the beginning, piano building at Steinway & Sons was a family affair. -
Boston Symphony Orchestra Concert Programs, Season
Boston , Music Hallj Boston Symphony f SIXTEENTH SEASON, ^ * . f Orchestra 1896-97. EMIL PAUR, Conductor. PROGRAMME OF THE SIXTH REHEARSAL AND CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP. Friday Afternoon, November 27, At 2.30 o'clock. Saturday Evening, November 28, At 8 o'clock. PUBLISHED BY C. A. ELLIS, MANAGER. (181) Steinway & Sons, Piano Manufacturers BY APPOINTMENT TO HIS MAJESTY, WILLIAM II., EMPEROR OF GERMANY. THE ROYAL COURT OF PRUSSIA. His Majesty, FRANCIS JOSEPH, Emperor of Austria. HER MAJESTY, THE QUEEN OF ENGLAND. Their Royal Highnesses, THE PRINCE AND PRINCESS OF WALES. THE DUKE OF EDINBURGH. His Majesty, UMBERTO I., the King of Italy. Her Majesty, THE QUEEN OF SPAIN. His Majesty, Emperor William II. of Germany, on June 13, 1893, also bestowed on our Mr. William Steinway the order of The Red Eagle, III. Class, an honor never before granted to a manufacturer. The Royal Academy Of St. Csecilia at Rome, Italy, founded by the celebrated composer Pales- trina in has elected Mr. William Steinway an honorary member of that institution. The following is 1584, — the translation of his diploma : The Royal Academy of St. Ccecilia have, on account of his eminent merit in the domain of music, and in conformity to their Statutes, Article 12, solemnly decreed to receive William Stein- way into the number of their honorary members. Given at Rome, April 15, 1894, and in the three hundred and tenth year from the founding of the society. Alex. Pansotti, Secretary. E. Di San Martino, President. ILLUSTRATED CATALOGUES MAILED FREE ON APPLICATION. STEINWAY & SONS, Warerooms, Steinway Hall, 107-111 East 14th St., New York. -
The American Bach Society the Westfield Center
The Eastman School of Music is grateful to our festival sponsors: The American Bach Society • The Westfield Center Christ Church • Memorial Art Gallery • Sacred Heart Cathedral • Third Presbyterian Church • Rochester Chapter of the American Guild of Organists • Encore Music Creations The American Bach Society The American Bach Society was founded in 1972 to support the study, performance, and appreciation of the music of Johann Sebastian Bach in the United States and Canada. The ABS produces Bach Notes and Bach Perspectives, sponsors a biennial meeting and conference, and offers grants and prizes for research on Bach. For more information about the Society, please visit www.americanbachsociety.org. The Westfield Center The Westfield Center was founded in 1979 by Lynn Edwards and Edward Pepe to fill a need for information about keyboard performance practice and instrument building in historical styles. In pursuing its mission to promote the study and appreciation of the organ and other keyboard instruments, the Westfield Center has become a vital public advocate for keyboard instruments and music. By bringing together professionals and an increasingly diverse music audience, the Center has inspired collaborations among organizations nationally and internationally. In 1999 Roger Sherman became Executive Director and developed several new projects for the Westfield Center, including a radio program, The Organ Loft, which is heard by 30,000 listeners in the Pacific 2 Northwest; and a Westfield Concert Scholar program that promotes young keyboard artists with awareness of historical keyboard performance practice through mentorship and concert opportunities. In addition to these programs, the Westfield Center sponsors an annual conference about significant topics in keyboard performance. -
The Piano Makers Working At
2018 LAGUARDIA AND WAGNER ARCHIVES CALENDAR WORKING AT THE PIANO MAKERS STEINWAY ABOUT THE ART CASE PIANOS The first art case piano was made in 1855 by Steinway. Between 1855 and 1930, Steinway produced over 200 “fancy pianos” for special customers in the United States and Europe. Customers included the Goulds, Fricks, and Rothschilds. Art case pianos were custom-designed to suit particular clients. The designs were not always made into pianos. Cover: Louis XV art case piano, c. 1901 Below: Grecian art case piano, c. 1910 WORKING AT THE PIANO MAKERS STEINWAY here’s something magical about a piano – the shiny ebony case, erected a magnificent new hall on West 57th Street, down the street the “ivory” keys, and the gorgeous sounds that can come from it. from Carnegie Hall. For the people who build the Steinway piano, it is a labor of skill, But the century also brought the Great Depression of the 1930s and Tartistry and commitment. This calendar tells their story. war. Twice the United States went to war with Germany, and Steinway, The founders of Steinway & Sons, then called Steinweg, came as an American company with a factory in Germany, found itself on to New York from Germany in 1850. They had been piano makers in both sides of the conflict. During World War II, the Hamburg plant was the old country, but America was particularly good to this immigrant expropriated by the Germans, who made it part of their war machine. family; within seven years they had built an immense piano factory The New York factory was enlisted as part of the American effort – on Park Avenue at 53rd Street. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
2008 OAH Annual Meeting • New York 1
Welcome ear colleagues in history, welcome to the one-hundred-fi rst annual meeting of the Organiza- tion of American Historians in New York. Last year we met in our founding site of Minneap- Dolis-St. Paul, before that in the national capital of Washington, DC. On the present occasion wew meet in the world’s media capital, but in a very special way: this is a bridge-and-tunnel aff air, not limitedli to just the island of Manhattan. Bridges and tunnels connect the island to the larger metropolitan region. For a long time, the peoplep in Manhattan looked down on people from New Jersey and the “outer boroughs”— Brooklyn, theth Bronx, Queens, and Staten Island—who came to the island via those bridges and tunnels. Bridge- and-tunnela people were supposed to lack the sophistication and style of Manhattan people. Bridge- and-tunnela people also did the work: hard work, essential work, beautifully creative work. You will sees this work in sessions and tours extending beyond midtown Manhattan. Be sure not to miss, for example,e “From Mambo to Hip-Hop: Th e South Bronx Latin Music Tour” and the bus tour to my own Photo by Steve Miller Steve by Photo cityc of Newark, New Jersey. Not that this meeting is bridge-and-tunnel only. Th anks to the excellent, hard working program committee, chaired by Debo- rah Gray White, and the local arrangements committee, chaired by Mark Naison and Irma Watkins-Owens, you can chose from an abundance of off erings in and on historic Manhattan: in Harlem, the Cooper Union, Chinatown, the Center for Jewish History, the Brooklyn Historical Society, the New-York Historical Society, the American Folk Art Museum, and many other sites of great interest. -
Tobias Koch Pianist
TOBIAS KOCH PIANIST TERMINE 2013 13.-15. Januar 2013 BAYREUTH 17. Januar 2013 BR Klassik Radiosendung 15.05-16 Uhr Einstündige Sendung in der Reihe "Pour le Piano - Tastenspiele" mit Tobias Koch. Werke von Ferdinand Hiller, Franz Liszt, Mendelssohn, Schumann und Mozart. 17.-23. Januar 2013 MÜNCHEN BR-Produktion mit Werken von Richard Wagner: Klaviersonaten, Lieder und Faust-Gesänge. Koproduktion mit cpo. 19. Januar 2013 MÜNCHEN BR Studio 1 im Funkhaus, 20 Uhr "Der frühe Wagner". Extra-Konzert im BR mit Klaviermusik und Liedern. Mit u.a. Magdalena Hinterdobler (Sopran), Mauro Peter (Tenor), Peter Schöne (Bass), Madrigalchor der Hochschule für Musik und Theater München und Falk Häfner (Moderation). Tobias Koch spielt auf einem Flügel von Eduard Steingraeber (Bayreuth 1852, Opus 1). Das Konzert wird für Radio und TV aufgezeichnet und zu einem späteren Zeitpunkt gesendet. 28. Januar 2013 COTTBUS 29. Januar 2013 HANNOVER NDR Landesstudio, Funkhaus 01. Februar 2013 GREIFENBERG (Oberbayern) Greifenberger Institut für Musikinstrumentenkunde, 20 Uhr Franz Schubert: "Die schöne Müllerin", mit Markus Schäfer. Hammerflügel Louis Dulcken, München 1820 aus der Sammlung der Greifenberger Werkstatt für historische Tasteninstrumente. 02. Februar 2013 BAD NAUHEIM Waldorfschule, 17 Uhr Ludwig Berger: "Die schöne Müllerin" und Franz Schubert: "Die schöne Müllerin". Mit Markus Schäfer, Tenor 04.-07. Februar 2013 WEIMAR Stadtschloss Aufnahme von Schuberts "Schöne Müllerin" mit Markus Schäfer (Tenor) für DLR Kultur. Fortepiano Johann Fritz (Wien um 1830) aus der Sammlung von Prof. Ulrich Beetz. 15. Februar 2013 Preis der Deutschen Schallplattenkritik / Bestenliste 1/2013 für die Aufnahme von Kammermusikwerken August Klughardts (s. CDs) 22. Februar 2013 FREIBURG im Breisgau 02./03. -
From Piano Girl to Professional: the Changing
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2014 FROM PIANO GIRL TO PROFESSIONAL: THE CHANGING FORM OF MUSIC INSTRUCTION AT THE NASHVILLE FEMALE ACADEMY, WARD’S SEMINARY FOR YOUNG LADIES, AND THE WARD- BELMONT SCHOOL, 1816-1920 Erica J. Rumbley University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Rumbley, Erica J., "FROM PIANO GIRL TO PROFESSIONAL: THE CHANGING FORM OF MUSIC INSTRUCTION AT THE NASHVILLE FEMALE ACADEMY, WARD’S SEMINARY FOR YOUNG LADIES, AND THE WARD-BELMONT SCHOOL, 1816-1920" (2014). Theses and Dissertations--Music. 24. https://uknowledge.uky.edu/music_etds/24 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.