The Hawaiian gazette., 1894-08-31
THE EARLY PIANO.
The Evolution of Mankind's Favor
ite Instrument.

VI IllC dl VI Tug NC HILt4IS VIZ NOl4O
has ever known, and whese suites
were written for the harpsichord.
The spinet was a keyed instru-
ment, and was the prototype of the
harpsichord. Some writers men
ton it as identical with the vir-
ginals-the precursor of the piano.
Certainly the action, compass and
shape of the instruments we're very
similar, if not identical, each hav-
ing a single string for each note,
which was sounded by the plectral
action of a quill and jack set in
motion by the key, the compass
being three or four octayes. The
smaller instruments were placed
upon a table while being played
upon. Musical history tells US that
Queen Elizabeth prided herself on
her playing of the virginals cher
favorite instrument). Doctor Tye,
the Queens music-master, and Will
liam Byrde, distinguished must
clans, each composed studies and
pieces especially for the Queens
use.
The harpsichord was an enlarge
ment upon the spinet both as re-
CARDS compass and pointer, although
the notes were produced by the
same kind of action as the spinet.
The harpsichord, however, had from
two to three, and even four, brass
or steel wires to each note, and
draw stops were provided, by
means of which the horsepower
could be increased or diminished
at the will of the performer. Some
instruments had a contrivance for
the gradual opening and shutting
of the lid, which gave the effect of
a swell. Some had, besides, an
upper keyboard with a separate set
of single strings producing an effect
similar to that of the soft pedal on
the piano. The usual compass was
five octaves. Numbers of these
relics are still extant at the South
Kensington Museum, London. l
noticed a number of excellent spe-
cimens of great historical value
some years ago at this Museum
which had been lent fer the occa-
sion by the Queen and other emin-
ent persons. They were quaint and
interesting. l was agreeably sur
prised to find an old harpsichord
in good tone and in fine condition
in California, at the house of a
private gentleman. This instru-
ment had been exhibited at the
last Paris Exposition.
1t is a remarkable fact that
nearly all the old masters had
nothing better than these imper-
feet instruments to play upon, and
write for, and yet we know, and
their compositions demonstrate the
fact, that their manipulative skill
was great, and the modern ad-
vanced student finds his technical
efficiency put to severe test when
attempting some of the older COM
positions.
During the latter part of the
seventeenth and the greater por-
ton of the eighteenth centuries
almost every orchestra contained
the harpsichord, which occupied a
very important place in the scores,
and was usually played by the
conductor. The piano au forte
being easily obtainable from the
new instrument suggested its
name. The pianoforte which pos
sesses the vital power and charm of
eventually superseded |
the harpsichord, the quilts and |
jacks were displaced by the little
hammers with which everyone who |
has seen the inside Of the piano is |
familiar. Curiously enough, this |
idea seems to have occurred coin
cidently to several persons about
the date. 1t is said, however, that
the first inventor was Cristofali in
1711. The names Of the other CO.
were Schroter, a German
Wood, and Marius, ma
tive of Padua in Italy.
The first noted maker of pianos
was SHERMAN, whose instruments
we're much admired by Bach, al
though he did not discard the old
instrument and the harpsichord
'or the newer one. Broadwood,
Collard and Erard were the earliest
piano makers of note.
Handel, Bach's great contempt
-ary, and who outlived him by
nine years, also composed suites
lie pieces or lessons for harpsi-
in which the well known
and popular piece the "Harmoni-
Jus Blacksmith" appears. The
master also composed twelve grand
for harpsichord in 1879.
A / r,ptInr tho |