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BROADWOOD
1810
1836
Ankündigung für die Verehrer Beethoven's.
Dieses Fortepiano, mit den Inschriften aller dieser Tonkünstler versehen,
welches durch die 20 letzten Jahre von Beethoven zum Spiel und zur
Composition benutzt worden ist, und dessen Aechtheit legal nachgewiesen
werden kann, wird nun von seinem gegenwärtigen Besitzer (welcher es nach
B.'s Tode in der Auction käuflich erstand) allen Liebhabern wahrhafter
Denkwürdigkeiten und allen Verehrern des Beethoven'schen Genius zum Kaufe
ausgeboten.
Es ist von massivem Mahagoniholze, hat den Umfang von 6 Octaven (von dem
Contra-C bis zu dem viergestrichenen C), ist gut conservirt und hat alle
Eigenschaften der soliden englischen Mechanik und Bauart. Nähere Nachweisung
ist auf portofreie Briefe zu erlangen in der Musikalienhandlung von Friedr.
Kistner in Leipzig."
Allgemeine musikalische Zeitung, 06/1836,
p. 48
1853
MAHOGANY & ROSEWOOD
It is abundant in Cuba and Hayti, and it used to be plentiful in
Jamaica; but in the latter island, most of the larger trees, at least in
accessible situations, have been cut down.
The principal importations into Great Britain are made from Honduras
and Campeachy. That which is imported from the islands is called Spanish
mahogany; it is not so large as that from Honduras, being generally in logs
from twenty to twenty-six inches square, and ten feet long; while the latter
is usually from two to four feet square, and twelve or fourteen feet long,
but some logs are much larger.
Mahogany is a very beautiful and valuable species
of wood; its color is red brown, of different shades and various degrees of
brightness, sometimes yellowish brown; often very much veined and mottled,
with darker shades of the same color.
The texture is uniform, and the annual rings not
very distinct. It has no large septa, but the smaller sepia are often very
visible, with pores between them, which in the Honduras wood are generally
empty, but in the Spanish wood, are mostly filled with a whitish substance.
It has neither taste nor smell, shrinks very
little., and warps or twists less than any other species of timber. It is
very durable when kept dry, but does not last long when exposed to the
weather.
It is not attacked by worms. Like the pine tribe,
the timber is best on rocky soils, or in exposed situations.
That which is most accessible at Honduras, grows
upon moist, lov land, and is, generally speaking, decidedly inferior tc that
brought from Cuba ind Hayti, being soft, coarse and spongy; while the other
is coarse-grained ind nard, of a darker color, and sometimes strongly
figured.
Honduras mahogany, has, however, the advantage of holding glue
admirably well; and is, for this reason, frequently used as a ground on
which to lay veneers of the finer sorts.
These were the produce of a single tree, each about
fifteen feet long, and thirty-eight inches square; they were cut into
veneers of eight to an inch. The wood was particularly beautiful, capable of
receiving the highest polish; and when polished, reflecting the light in the
most varied manner, like the surface of a crystal; and from the wavy form of
the pores offering a different figure in whatever direction it was viewed.
Dealers in mahogany generally introduce an auger
before buying a log; but notwithstanding, they are seldom able to decide
with much precision as to the quality of the wood, so that there is a good
deal of lottery in the trade. Mahogany was used in repairing some of Sir
Walter Raleigh's ships at Trinidad, in 1597; but it was not introduced into
use in England, till 1734.
Rosewood is one of the most beautiful and costly of the fancy woods;
it is produced in Brazil, the Canary Isles, Siam, &c. The logs often are
twenty-two inches in thickness. Considerable quantities are imported into
this country, and 300 tons are annually sent to Great Britain."
Enterprise, Industry and Art of Man, 1845,
p. 304
1853 Die Broadwood'sche Pianofortefabrik in London.
Streicher bemerkt in der Einleitung, daß er das Nachstehende aus Notizen ausgezogen habe, welche er bei dem wiederholten Besuche der Broadwoodschen Fabrik theils nach eigener Anschauung aufzeichnete, iheils Hrn. Broadwood selbst verdankt Rücksichtlich der Güte der Erzeugnisse räumt Streicher der ausländischen Pianofortefabrication durchaus keinen Vorrang ein; in quantitativer Beziehung ist dagegen den Engländern der Vorrang nicht zu bestreiten. Die Pianofortefabrik des Hrn. Broadwood u. Söhne ist die älteste bestehende in England und unstreitig die größte der Welt. Die Fabrik selbst wurde durch Hrn. Tshudi im Jahr 1732 zu London ge gründet. John Broadwood kam als Arbeiter zu hrn. Tshudi und heirathete dessen Tochter. Im J. 1808 änderte sich die Firma in John Broadwood und Söhne. – Gegenwärtig wird die Fabri cation der Pianofortes in zwei Fabriken betrieben, deren kleinere sich in Great Pultney Street, Golden Square und die andere bei Westminster, in der Horse Ferry-Street befindet; letztere Fabrik ist die bei Weitem bedeutendere und nimmt einen Flächenraum von mehr als einer halben Meile im Umfange ein; sie besteht aus 4 parallel laufenden Reihen von Gebäuden, welche drei große Höfe bilden und begrenzen. Die Gebäude, durchgehends Doppeltracte, sind 300 Fuß lang und enthalten durch drei Stockwerke eine doppelte Reihe von Werkstätten, deren Fenster nach den Höfen führen. In diesen vier Reihen von Gebäuden sind 3–400 Menschen beschäftigt, alle jene Arbeiten auszuführen, welche nöthig sind, um vom ersten Sägeschnitt des rohen Baumstamms, bis zu den feinsten Arbeiten, das vollendetste Pianoforte herzustellen. An den Enden der Höfe befinden sich vier bis fünf Wohnhäuser für die Oberaufseher und Factoren. Merkwürdig sind die Massen der hier aufgehäuften Werk- und anderen Hölzer, welche allmählig zur größten Austrocknung gebracht werden und theils in öffenen Schuppen, theils unter Wetterdächern vor übler Witterung geschützt sind. Jeder Stamm und Pfosten trägt das Datum seiner Einlagerung, um zu wissen, wie lange er der Trocknung unterzogen worden ist. Eigene Sägegruben und circa 12 Holzsägen dienen zum Zertheilen der ganzen Stämme und Blöcke in Pfosten und Breter. Einige der Gebäude sind mit flachen, blechbedeckten Dächern versehen, um auch diese luftigen Höhen zum Aufschichten der Hölzer behufs Trocknung bestens zu benutzen. Sämmtliche Holzvor räthe sind stets für zwei Jahre im Voraus vorhanden und auf 5000 Claviere berechnet. An der Nordseite der Fabrik befindet sich ein eigenes Dampfmaschinenhaus. Dasselbe liefert unter andern die Wasserdämpfe für eine durch selbe gebeizte Trockenkammer, in welcher das bereits luftrockene Holz vor dem Gebrauche noch durch längere Zeit einer Temperatur von 30 Graden Hitze ausgesetzt wird. Eben so speist diese Dampfmaschine einen großen Kasten, in welchem die Hohlwände der Instrumente durch Wasserdämpfe erweicht und gebogen zu werden pflegen. Neben dem Osttracte sind die großen Fournierräume mit den werthvollsten Fournieren angefüllt. Wie sehr auch in diesem Artikel, wie in ällen andern, Liebhabe rei die Preise, wegen selten vorkommender Eigenschaften, steigert, mag man daraus sehen, daß der Verf. daselbst Fourniere von 15 Fuß Länge und 38 Zoll Breite vorfand, welche von einem einzigen Baum, Honduras Mahagony, stammten, den die Herren Broadwood u. Söhne in drei Blöcken um 2000 Pfund Sterl. gekauft hatten und wovon sich der Cubik fuß auf 5 Guineen stellte. Die Werkstätten und die darin verfertigten Arbeiten einzeln aufzuführen, würde ermüden. Es genügt zu wissen, daß deren eine Unzahl und darunter viele mit 120 Fuß Länge sind, in denen Corpus, Resonanzböden, Claviaturen, Pulte, Leiern, Füße, Metallgegenstände, kurz alle zu einem Claviere von Anfang bis zur Vollendung nöthigen Arbeiten gemacht werden. Die Zahl der in diesen Werkstätten, außer den vielen Tischen, vorhandenen Hobelbänke beläuft sich auf 300. – In jedem Stockwerke befindet sich ein Stim mer, welcher für Alles verantwortlich ist; die Fabrik benöthigt 36 – 40 Stimmer. Der Stimmlohn beträgt in der Fabrik 4 Schilling oder 2 Fl. C. M. für ein Tafelformpiano und 5 Schilling oder 2. Fl. C. M. für einen Flügel, – außer der Fabrik natürlich mehr. Wegen Feuersgefahr wird nicht mit Gas beleuch tet und aus demselben Grunde die Fabrik mit Wasser dämpfen geheizt. Wenn die Leute die Werkstätte verlassen, sind sie verpflichtet, alle Vorsichten gegen Feuersgesahr zu gebrauchen. Nach einer halben Stunde macht der Werkführer die Runde und zwischen 10 und 12 Uhr Nachts gehen die Hauptwerkführer durch alle Localitäten, wofür sie besonders bezahlt werden. In den verschiedenen Abtheilungen der Fabrik sind eiserne Thüren zum Schieben, um bei Feuersgefahr absperren zu können. In jedem Hofe der Fabrik sind vier Krah nen, welche mit den in London allenthalben befindli chen Hauptwasserleitungsröhren in Verbindung stehen. An diese Krahnen können augenblicklich Schläuche an geschraubt werden, vermittelst welcher man bis über die Dachungen zu spritzen vermag. Der Arbeitsstunden sind 12 pro Tag. Jeder Arbeiter hat sein Buch, welches Freitag Abend abge schlossen wird. Gewöhnlich werden die Arbeiten von 12 Arbeitern in ein Verrechnungsbuch gebracht, welche Verrechnungsbücher dann wieder in jedem Fabrikgebäude zusammengezogen und an das Comptoir angewiesen werden. Die Cassa sendet hierauf die Beträge nach 10*Ueber die Refraction des Schalles von C. Sondhauß. den Fabriken, wo dann die Auszahlung gegen Bestä tigung der Arbeiter stattfindet. – Die Arbeiter bilden einen eigenen Penny- Club, wo sie wöchentlich einen Penny geben, so lange einer von ihnen krank ist. – Besonders bemerkenswerth ist noch das Magazin des ersten foreman oder Factors. Es bildet ein wahres Arsenal von Werkzeugen, Schlosserarbeiten, fertigen Bestandtheilen und Materialien aller Art. Außer dieser großen Fabrik haben die Herren Broadwood, wie schon erwähnt, eine zweite kleinere in Great-Pultney-Street, von noch immer sehr respectabler Größe. Dorthin werden aus der größeren Fabrik die fertigen Arbeiten abgeliefert. Dort befin den sich die Comptoirs in 4 Zimmern mit 13 Comptoristen; die Verkaufs- und andere Localitäten für fertige und Miethpianofortes, Reparaturwerkstätten u. s. w. Die Zahl der Arbeiter, inbegriffen des Comptoir personals, beläuft sich in beiden Fabriken zusammen auf 500 Personen. Der an dieselben bezahlte wöchentliche Arbeitslohn beträgt circa 1000 Pfd. Sterlinge oder 10,000 Fl. Silbermünze, excl. Comptoir, welches vierteljährlich bezahlt wird. – Die Zahl der laufenden Rechnungen steigt auf durchschnittlich 4000. Welche Bedeutung das Pianofortemiethgeschäft allein habe, möge man daraus entnehmen, daß die Zahl der vermietheten Pianos gewöhnlich 600 beträgt, welche Zahl aber im Jahr 1844, als der Verf. zum letzten Male in London gewesen, auf 900 stieg und die Hrn. Broadwood nöthigte, ein neues Local zur Aufnahme von 300 auf 400 Pianos zu bauen. Die Pianofortemiethe wechselt von 12–52 Schilling oder 6–26 Fl. C. - M. per Monat. Der Transport der vielen neuen und Miethinstrumente kann sich natürlicherweise bei solchem Umfange nicht mit so bescheidenen Mitteln begnügen, wie wir sie hier gewohnt sind und hinreichend finden. Bei den Hrn. Broadwood stehen denselben 8 Pferde, dann 8 elegante geschlossene Transportwagen, so wie noch 2, nur für den Transport verpackter Pianofortes nach den Werften bestimmte Wagen, welche sämmtlich auf Federn ruhen, zu Gebote. An neuen Clavieren befindet sich beständig ein Vorrath von 600–800 Stück in der Fabrik. - Da ein solches riesiges Geschäft natürlich nicht alle, oder im Verhältniß selbst nur wenige Claviere direct und gegenbaar verkaufen kann, so muß es viel in Commission und auf Credit geben, wobei nicht selten unvorherzusehende und große Verluste eintreten, und man will wissen, daß die Hrn. Broadwood u. Söhne in dieser Beziehung jährlich 10,000 Pfund Sterl. auf ihren Verlustconto zu bringen haben. In wenigen Hauptrubriken zusammengefaßt, stellen sich die jährlichen Ausgaben bei den Hrn. Broadwood in runden Summen also: pf. eter. S. s-M. Für Hölzer aller Gattung 11,000 oder 110.000 „ Materialien . . . . . 18,000 , 180,000 „ Arbeitslöhne . . . 52,000 „ 520,000 ,, diverse Ausgaben 19 000 ,, 190,000 In Summa 100,000 Pfd. Sterl. od. eine Million Fl. in Silbermünze. Bis zum Jahr 1844 hatte die Broadwood'sche Fabrik schon 90 000 Claviere in die Welt geschickt. Die Zahl der um diese Zeit jährlich von der Fabrik gelieferten Instrumente betrug circa 2300 Stück und um diese Zahl würdigen zu können (nicht um die Be deutung unserer inländischen Pianofortefabriken dadurch zu beeinträchtigen), möge man erfahren, daß unsere, im Jahr 1845 in Wien befindlich gewesenen 108 In strumentenmacher zusammen, nach verläßlichen Angaben, ungefähr jährlich 2600 Pianofortes verfertigten. Da man aber gewiß annehmen darf, daß es einer Fabrik, wie der Broadwood'schen, ein Leichtes sein mußte, nöthigenfalls die von ihr fabricirte Zahl Pianofortes von 2300 auf 2600 zu erhöhen, so darf man wohl sagen: die Broadwood'sche Fabrik allein kann so viel liefern, als sämmtliche 108 Pianofortemacher in Wien.
Wie es aber möglich sei, einen Industriezweig,
welcher bei uns als Kunstgewerbe rein von der mehr oder mindern
Geschicklichkeit dessen Besitzers abhängt und den Herrn zu seinem eigenen
ersten Arbeiter macht; wie es möglich sei, einen dergleichen Industriezweig
unter einem Chef in so unglaublicher Ausdehnung bei ausgezeichneten
Leistungen zu betreiben, dafür läßt sich nur in dem, den Engländern
eigenthümlichen Speculationsgeiste, in richtiger kaufmännischer Führung,
größter Theilung der Arbeit, Leichtigkeit des Absatzes und der Ausfuhr nach
allen Welttheilen und so manchen andern eigenthümlichen Umständen die
Erklärung finden. (Zeitschrift des niederöstr. Gewerbevereins. 1851. S. 242.
– Polyt. Centralbl. Jahrg. 1851. Lief. 24.)"
Zeitschrift für Orgel-, Clavier- und Flügelbau: sowie
für d ..., 1853, p. 143-144
1854
MAHOGANY from the BAY
ISLANDS
The trunk is most valuable on
account of its dimensions, but the branches or limbs are preferred for
ornamental purposes, the grain being closer, and the veins more variegated.
The trunk is sawn into logs,
which are subsequently roughly squared, for the convenience of ship stowage.
The largest log known to have been cut in Honduras was 17 feet long, 5 feet
4 inches deep, and measured 5,168 cubic feet = 15 tons weight.
The wholesale prices vary, at
Liverpool, from bd. to 9d. per foot. Messrs. Broadwood, the
pianoforte-makers, are stated to have given ₤ 3,000 for three logs of
mahogany, the produce of a single tree : they were each about 15 feet long
by 38 inches square ; and were cut into veneers of eight to an inch. The
grain of this tree was particularly beautiful. When highly polished, it
reflected the liglit like the surface of a crystal ; and, from the wavy form
of the pores, presented a different figure, in whatever direction it was
viewed."
The British colonies : their history, extent,
condition and resources, 1854, p. 169 (archive.org)
1863
BROADWOOD AND SONS' PIANOFORTES
Instead of clothing the
strings (when first "applying hammers"), he merely caused them to be struck
by soft wood or cork, with a view to obtain the harpsicord tone so much
admired at that period. Subsequently, however, he adopted a thin covering,
of leather.
His mechanism, which possessed, the double merit of
effectiveness and simplicity, competed successfully with that of the most
noted and ingenious of his contemporaries, and was gradually adopted by the
principal makers, not only in this country, but on the continent, where it
was specially recognised as the "Mecanique Anglaise," or "Die Englische.
Mecanik."
Upon his decease (somewhere near 1781), Backers, proud of his
discovery, confided it to the future keeping of his friend, John Broadwood,
who, while in the employ of Burkhard Shudi, used to go every evening,
accompanied by his own apprentice, Robert Stoaart,t to assist in bringing it
to perfection. Broadwood, nevertheless—subsequently engaged in other
projects—bestowed little thought on the new instrument, until several years
later.
He had, in 1778, succeeded to Tschudi's business (Great
Pulteney-street); and his increased responsibilities absorbed the whole of
his time and attention, Meanwhile Robert Stodart, who, at the expiration of
the term of his apprenticeship with Broadwood, commenced "making" on his own
account (in Golden-square), had applied himself with eminent success to the
manufacture of Grand Pianofortes, on the model of Backers, his
opportunities of acquiring familiarity with which have been described.
Besides materially improving the mechanism in several essential particulars,
he increased the power and enriched the quality of tone. The vogue and
extensive publicity which the new instrument deservedly obtained, under
Stodart's name, at length awakened John Broadwood to a sense of its
importance.
For some years Broadwood emulated his contemporary with but
indifferent success, till Muzio Clementi (as influential a friend to him as
Handel had previously been to Tschudi), through continually pointing out the
detects of his instrument, and urging him to profit by the experience and
counsel of eminent musicians and men of scientific acquirement, not only
roused the pride of one to whom the art was already in some degree indebted,
and who had succeeded to an inventor and manulacturer of the highest
eminence, but particularly excited his interest in the progress and
improvement of the Grand Pianoforte.
Among
the rest he solicited and obtained the advice of Cavallo, the author of
A Treatise on Acoustics, and other
works, which at that period were in high repute. Cavallo, having deduced
from the Monochord a theory concerning the length and proper tension of the
strings of the pianoforte, drew up a paper on
that very interesting and important subject, which he subsequently read,
with great success, at one of the meetings of the Royal Society.
Dr. Gray,
too, formerly of the British Museum — who, after certain valuable experiments,
had fixed the absolute proportions of gravity and vibration, respectively
belonging to strings of brass and strings of steel (which first led to a
division of the bridges on the sounding board of the Grand
Pianoforte) — was also one of Broadwood's
advisers.
With the aid of these dist inguished men, he advanced so rapidly,
that his reputation as a manufacturer of Grand Pianofortes was in a brief
space established; and as a proof of the worth of those modifications and
improvements which the suggestions of Cavallo and Dr. Gray had emboldened
him to carry out, they were speedily adopted by every maker of note, both in
England and abroad."
The Musical World, march 1863, p. 163
1865
1883
1895
Mr. Henschel's New Piano.
Mr. Henschel has an ideal music room constructed after his own plans, and in
one of his imaginative moods he conceived the outlines and general
principles that have governed the construction of the case of the present
piano which has longed for as a complement to his artistic surroundings.
The suggestions he submitted to Messrs. John Broadwood & Sons, who have every
facility for executing any possible design; indeed their many and varied
examples of these special pianos are widely known.
Mr. George Rose, who has under his superintendence the construction
department, at once comprehended Mr. Henschel's suggestions, and with his
competent force immediately set to work to make this new model instrument.
Much has been written of late concerning the want of symmetry in the outline
of the conventional grand pianoforte. The departure of the pitoresque was
equilly deplored when the ironclad superseded the beautiful sailing ships of
Nelson's time.
Nevertheless there is beauty in some ironclads, even as there is marked beaty
in some makes of modern pianos; and although critics may censure the shape
of the latter instrument, it is safe to that a belief in the beautiful has
never forsaken the many musicians who, from a love of their art, have
consecrated their lives to mastering the keyboard.
To such enthusiasts a pianoforte actually seems at times endued with life, as
it responds to their innermost thoughts; and the words of Spencer, which run
:
"For of the soul the body form doth take;
can, in their opinion, be applied as well to their favourite instrument as to
a human being. In the eyes of a connoisseur, the tone of a Strad owes its
beauty much to its outward form. In short, all true musicians seem to admire
their instruments--aye ! even pianists.
Nevertheless, the unequal look imparted to the grand piano by the inevitable
curve on its treble side, due to the shorter strings required for the higher
notes - a curve more emphasized no than it used to be - has, by some men of
taste and impartial judgement, been deemed inelegant.
How to retain this one-sized curve, and yet make an artistic-looking
instrument, has long been a diicult problem for the artistic pianoorte
buider to solve. And, just as by means of one touch vivid colouring the
whole o an otherwise sombre painting can be rendered pleasing to the eye, so
certain noted artists and architects, in order to minimise this look of
inequality in the grand piano, have cleverly varied the treatment of the
supports of the case.
The three simple legs running on small castors - which castors are out of the
vertical with the leg itself-have been frequently denounced as inartistic.
Their adoption was chiefly due to convenience.
And long familiarity with their appearance has made them not only tolerable
but agreable to the eye of the public, even as the most hideous of dwellings
- the cynic might rejoin-are beloved by those bred and born in them.
For the conventional legs, Sir Edward Burne Jones, R.A., has ingeniously
substituted, in the grand pianos he has designed, a stand partaking of the
character of the old trestles with wich the now obsolete harpsichord was
provided. On the other hand, Mr. Alma Tadema, R.A., has replaced the single
legs by massive columns and twin-pillars, Byzantine in style.
Legs of a still different character have now been introduced in a remarkable
concert grand pianoforte, just completed by Messrs. John Broadwood & Sons,
of Great Pulteney Street, for the eminent musician, Mr. George Henschel.
Mr. Henschel is so well known as a singer, a conductor, composer, and
pianist-he studied the piano, be it noted, under Moscheles-that it may
appear incredible that so busy a man as he should excel, also, as an artist
in a pictorial sense. Yet his versatility as a draughtsman and his
antiquarian tastes are well known to his friends.
In Mr. Henschel's house it may be said that "beauty is an all-pervading
presence." To his friends, therefore, there will be little cause for
surprise in the announcement that the piano in question has been made
entirely according to Mr. Henschel's directions, and after his own sketches.
Every detail in the design has, indeed, been carefully supervised by himself.
Certain features in the case-work are, it is true, partially owing to
friendly suggestions of Mr. Alma Tadema.
The striking originality displayed in the conception and treatment of the case
of this pianoforte is, nevertheless, Mr. Henschel's.
In the exterior of this instrument there is no over elaboration nor undue
ornamentation. Nogilding or pearl is visible here. The case of the
pianoforte is of solid oak, of magnificent natural figure.
It is relieved simply by some floral work, of classical design, incised in a
band round the plinth of the case, and by some delicately carved scroll-work
on the cheeks at either extremity of the keyboard. Four antique-looking
strap-hinges, of wrought iron, give a quaint finish to the top, inside of
which the music-desk and candleboards, mediæval in style, are in keeping.
The latter ingeniously follow the outline of the piano itself, and are
intersected by two other beams meeting under the middle of the body of the
instrument in the form of a St. Andrew's cross, the lower arms of
which-i.e., those nearest the pedals are curved outwards.
In regard to the pedals, Mr. Henschel makes another departure from custom, by
dispensing with the conventional lyre-ornament. He prefers to allow the
pedal-rods to work between two columns, turned in the same ball-upon-ball
fashion as are the massive legs. The castors, attached to the legs so as to
render it easy to move the piano about, are effectually hidden by means of
large ellipsoidal bases, which impart an appearance of great strength, in
keeping with the weight of the modern iron, or steel, grand.
As to the polish, a charming effect has been gained by toning down the oak of
this piano by means of fumigation, so that it harmonises with the rich
wainscot panelling of the music room at Bedford Gardens, Kensington, which
the piano has been intended to adorn. Appropriately surrounded as it there
is, the general effect of this newly-designed piano is stately, and
singularly agreeable. "That is the best part of beauty," says Bacon, "which
a picture cannot express."
In regard, therefore, to the musical soul enshrined in this exceptional case,
it is impossible to say more than that the mechanism embodies the latest
improvements and patents of the Broadwood firm, and that the distinguished
purchaser expresses himself in high terms of both the tone and touch.
On Saturday evening Mr. Henschel invited a few of his musical friends to see
and hear his new piano, as it forms a part of his now famous music room, and
all united in their admiration of its beautiful and original appearance and
its rich luscious tone."
The Musical Courier, 21/11/1895, p. 28
MR. HENSCHEL’S NEW PIANO.
As will be observed, he has given another new suggestion in the treatment of the legs of the piano. The case is a comparatively simple one in regard to decorative treatment ; it is in solid oak, merely relieved by a floral ornament incised in a band round the lower margin of the case, and a little carved scroll-work at the extremities of the keyboard.
The hinges of the lid are
ornamental and of wrought-iron. We very much question the advisability of
the introduction of these large metal hinges on the case of a piano. All
metal, except that which is necessarily used in the internal construction,
is better away. The slightest working loose of these hinges in process of
time would lead to jarring."
The Builder, 16/11/1895, p. 85
BROADWOOD
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"
Piano made by Messrs. Broadwood. Designed by Mr. G.
Henschel.
