E E C OLLECTI ON M . ST I N RT K E Y E D A N D S T R I N G E D I N T M E N S RU TS . W ITH V ARIOU S TREATI S ES ON THE HI STO R Y OF THES E I N STR U M ENTS THE M ETH OD OF PLA Y IN G THE M A N D , , T I I F LU C ON M I AL A T HE R N EN E U S C R . M O R R I S S T E I E RT N , N EW V HA CO . EN . NN I L L U S T R A T E D . P I : PAP C LOT R C E ER , H , F . T R ET BA R C . 1 89 3 , by . firms of R O T A . S , 1 F RA N K F O RT S TRE E T N O . 4 , 4m. em DED I C A T E D T O MY F R I E N D ‘ F K . A . H J I I S S . A P N , O F O D O G A D L N N , EN L N , A S A MA R K O F A PPRE I A T I C O N . PR E F A C E . T HE articles i n this p a mphlet have bee n written for a tw ofold o he of . I n o de to c ta t t purpose First. r r serve as a a logue visitor the E b f him the u a nd o xhi ition , to ully explain to nat re c nstruction of the differe nt instruments of my collection and to serve as a book r f f e . c e I fo uture re er nce My experien e at V ienna , wh re exhibited a of c o t o i n 18 2 has t of m part this llec i n 9 , taught me hat students usic i n t v order to fully understand these ins ruments , should be pro ided o k o f . I n with s me wor guidance , explanation and instruction this little volume I have endeavored to fully meet this demand . e e of Second. I n ord r to t ach the student the polyp honic nature the m of m of the usic the great asters eighteenth century, as played on t e of t m him t of the ins rum nts hat period , to re ind hat the music Bach and his contemporaries was writte n for the instruments of that t t c an f period solely, and hat heir innate beauty only be ully compre d if th e of B hende rendered on em , although th music ach has been e b M t r m for r suscitated y endelssohn and o hers , the inst u ents which it e was int nded had been lost sight of. For this rea son I have made it one of my de arest tasks to collect and fully repair these i nstru and the m t d of i n to ments learn original e ho playing them , order reproduce these works strictly i n conformity with the composer ’s intention . I n m b m f y researches l have een greatly assisted by y riend, . J. HI PK I N S F . S . A . of . Hi s k on A , , London various wor s the history and construction of musical instruments have been of im mense to me a n f m for value , d have urnished me with any an item this t k w m k of e d d him . li tle wor hich , as a ar appr ciation , I e icate to MO R R I S S T E I N E R T . CO NTE NTS . N O . N D N I TRO UCTIO , G E K E Y E D N M E N W N CATALO U OF I STRU TS , ITH ILLUSTRATIO S Y T H E P N - E HISTOR OF IA O FORT , A SY N O PSIS OF T H E ATTAI N M E N TS OF T H E G R E AT PIAN O B D E T H E 1 T H A N D 18T H E N E UIL RS OF 7 C TURI S , ’ S E B . B E P Y N G T H E R E N AISSAN C E OF JO H . ACH S M THOD OF LA I T H E D CLAVICHOR , E OF D . FE D V E N N ARTICL R HIRSCH L , I A , ARTICLE FROM T H E AUSTRIAN N E W S OF M USIC A N D D M M V E N N RA A , ( USIC I A, ” E F OM “ W E N E BE N D B T ARTICL R I R A LAT , W O . F OM T H E N E VE N E V E N N G E G E A L ST ART R HA I R IST R , N E M BE 1 th 18 2 OV R 7 , 9 , Y OF T H E N HISTOR VIOLI , I i . C OG E OF N G E D N M E N W ON ATAL U STRI I STRU TS , ITH ILLUSTRATI S C ATA L O G U E OF T HE M . STEI N ERT CO LLECTI O N IIEYED AND STRNGED NSTRUMENTS EXHI BITED AS A LOAN COLLECTION AT THE W O R L D ’S C O L U JW ‘B I A N E X P‘ O S I T l O zN BY I T S PROPR I E TO R MORR IS STE I N E RT , N EW HAV CO . U . s . A . EN . NN . THE S AM E COLLECTION AS S HOW N AT THE I N TERNATI O NAL EXPOS ITI O N FOR MU S I C A N D T HEATRE , V I A 18 2 . ENN , 9 I NTRO DU CTI O N . T H I S CA T A LOGU E describes my collection of Keyed and ul Stringed Instruments at the Exhibition at Chicago . To f ly o f o n understand their construction , and the art playing them , it n o n is necessary to resort to books treati g these subjects . Such - a one I have prepared and submit it to the music loving public . A visitor glancing at these instruments may at first View c o n M . sider them as antiquities , such as are met with in Art useums H erein he commits an error . I t is true that while engaged in my task as collector I discovered them in a dilapidated condition , and unfit to be played on . I n that state they did not exhibit n o o n e their former usefulness , and beholding them could surmise th a t they served the musicians o f the past centuries as m usi c al instruments , for which the great masters of that period composed ffi their divine works , and that they were of su cient capacity to o f transport the performer to the most exalted realms inspiration . so I have succeeded in repairing these instruments , that now , after centuries Of quiet rest , they appear in their original living s tate . In this I was actuated by the desire that these instruments Should serve a s a medium for performing on them the so compositions Of Bach and his contemporaries , as to enable the student Of music to hear these masterly works in their original garb . F o r this purpose I present these classical instruments to the public , and hope that doing this I may render some service to our present generation . S T E I N T M E R . N E W H V E N un 1 , 18 . A , J e 9 93 v‘y I i ; 51 K b “ g M m w g s 6m W » “t fi g M as m . M . S T E I N E R T C LAVI C H O RD S . — N o . I . b . C lavichord , 4% octaves Ge unden O f the I sth century . In this instrument a small bit of brass “ ” called a tangent is fastened to the back end Of the key, and when raised by pressing the key , both strikes the string and divides it , thus producin g at the same time tone and pitch . An excellent method to obtain variety in force and quality o f tone . ' d ifie re n t This instrument has more keys than strings , and three tones are produced upon each set o f strings ; a system which “ ” . is called in German gebunden , and in English fretted 1 6 — N O. 2 . Clavichord, 4% octaves . Gebunden . 1 6th Of the century . In this instrument two different tones are se t produced upon each Of strings . ‘ 18 - ” . a . C 4 ta . No lavichord, 4 oc ves Gebunden . Mahogany naturals and black sharp s . The case is in black enamel with gold , and rests upon a frame . d f se t Two if erent tones are produced upon each Of strings . I 9 — . 4b. b No Clavichord, 5 octaves U nge unden , M Sc hi e d m a e r 1 8 .