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GREINER
1851
Its strings lie in two planes, slightly inclined to the horizontal, and to each other, and intersecting at the front end of the instrument; their farther ends opening out into something like the shape of a trumpet. The idea of the inventor is, that this shape will throw the sound out horizontally, and make the instrument better heard than on the ordinary plan; but we cannot think that any advantage of this kind will compensate for the awkwardness of the form, and the difficulties attending its manufacture. A second novelty in this instrument is what the inventor calls the unison method of tuning. One wire forms the two strings of each note; it is looped at its two ends to two adjoining pins in the string-plate at the back of the instrument, and its centre is turned over a cylindrical stud at the front. This front stud is capable of being moved backwards and forwards by a screw, by which the two halves of the wire are tuned simultaneously. In order to adjust the two strings to a unison, the front cylindrical stud is moveable round its centre by means of a lever, which gives the power of tightening one half of the wire and slackening the other, until a perfect unison is obtained : of course this method of stringing is not applicable where three strings are used. A third novelty is in the action, called a repeating check. It is a means of producing the repeating power by a small tongue of leather attached to the check, and jointed, so as to move upwards with perfect ease, but to offer resistance to motion in the contrary direction. By this arrangement the hammer is allowed to rise without obstruction ; but when it tends to fall, it is held up by the leather tongue till the hopper engages, and thus the repetition is secured. This is one of the simplest contrivances for the purpose we have seen. Mr. Greiner also exhibits a model of a new method of stringing, by which two strings are made to vibrate by a blow given to one only, on the same principle as the synchronous vibrations of the two arms of a tuning fork." Newton's London Journal of Arts and Sciences, 1851, p. 33
Pas de cordes, pas de table d'harmonie, et des conduits comme ceux du
trombonne des instruments à vent, une construction analogue à celle du
porte-voix, voilà ce qui le constitue. L'inventeur a cherché à appliquer
à cette machine nouvelle le mécanisme du langage, l'action même de la
langue.
Au moyen de touches qui communiquent avec des tuyaux
d'aspiration : ces tuyaux sont combinés de telle sorte que l'air qui est
introduit dans cette espèce de tromnette dont on voit l'orifice sur le
côté droit du dessin, vient produire les sons que l'on obtient des
instruments à vent ordinaires. Si cet appareil peut réussir, on en
comprend toute l'utilité.
Ce serait ajouter au charme des instruments à
vent la précision du piano; ce serait unir la sûreté des touches à la
beauté des sons qui peuvent, en se prolongeant, donner à la musique
toute l'expresion que la limitation bornée des touches ne saurait
ajouter à l'arpège harmonieux du piano-forte.
On a déjà, en France, fait
faire de grands progrès, dans celle voie, aux piano-forte. Nous avons
décritdans notre dernier numéro les efforts tentés avec succès par M.
Debain sur son orgue; il n'y a plus de grandes difficultés à vaincre
pour arriver à établir une corélalion harmonique entre les instruments à
corde et les instruments à vent.
Les procédés combinés de nos fabricants
et de ceux de Londres, résoudront le problème, tant l'intérêt de ce beau
travail consiste à donner à l'instrumenta touches un son qui ne soit pas
limité."
Le Palais de cristal : journal illustré de
l'exposition de 1851, 04/10/1851, p. 345 (gallica.bnf.fr)
There is much ingenuity displayed in this
construction, but we do not perceive the advantage to be gained by the
tone issuing from the sides of the instrument; and although it would be
very desirable to tune the unisons as a single string, as it would
obviously save one-half the labour, we are afraid it is not so
effectual, but that it requires regulating; and as one wire will always
stretch more than another, a tuning-pin to each string seems preferable.
This instrument being the first of the kind made, the inventor will, no
doubt, improve upon it."
Crystal Palace, and its contents : being an
illustrated cyclopaedia of the great exhibition of the industry of all
nations, 1851, p. 202 (archive.org)
Each pedal pulled the wide end of a wedge-shaped
plectrum between two thick strings behind the performer, producing a
pedal pipe quality of sound. There were also several inventions of
Montal exhibited, to which additional interest was attached from the
fact that the inventor is blind. These, like many other inventions
exhibited, were far more ingenious than useful, but still worthy of
great commendation.
A clever although complicated arrangement of the
loud pedal action, prevented the confused sound generally arising
from its unskilful use, by allowing only the first notes struck to
remain sounding whilst all others were stopped by the dampers.
Many other appliances were also introduced in
Montal's pianos, a Venetian swell at the back of the instrument
being especially worthy of notice."
The history of the pianoforte, Edgar
Brinsmead, 1870, p. 59
1862
The different strings of the note are adjusted to each other by an additional apparatus for the purpose, and when this is efl‘ected the whole are timed to the reqnircd note by screwing the frame. The plan ma be etfective, but seems complicated and expensive, an experience is wanted to determine its utility. They also exhibit a new pedal piano, playing upon strings behind the performer, and acting by a plectrum, so as to sound without any blow being given. They have also other inventions in the action and framing, and they are awarded a Medal for novelty of invention." Reports by the Juries on the subjects in the thirty-six classes into which ..., 1862, p. 148
This it professes to accomplish perfectly. An
improvement in the tuning-pins, and an arrangement to facilitate the
tuning, is one of the things most needed in the construction of
pianofortes, and any step in this direction is well award of fifty
pounds in the Exhibition of 1851 for his plan of tuning, worthy of
attention. Mr, Greiner obtained honourable mention and an and he has
improved upon it since that time."
The Illustrated London News, 14/06/1862,
p. 616
GREINER
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