1851 Broadwood upright piano
History and construction
History
Confirmation has now been received about the history of this piano, Serial No: 10842, from Dr A D Laurence, who traces histories of instruments for Broadwood and Sons Ltd. Although unfortunately limited, there are some interesting facts and figures appertaining to this instrument:
It's manufacture was completed on the 6th February 1851, at Broadwood's Horseferry Road workshops. On the 24th February, it was sold to the music publishers (and Broadwood's then central London agent) Messrs Cramer, Beale and Co, Regent Street, London for a trade price £26 . It's official retail price at this time was 55 guineas, which meant that Cramer, Beale and Co were making 100% profit on each of these pianos! Unfortunately, we do not know who the piano was first sold to, but we do know it was taken back by Broadwood's in part payment for another new piano on 18th December 1888. Only £7 was allowed against the new piano! Our now pre-owned Broadwood was then sold to a certain Miss Ransford of 3, Winchester Street, London, on the 26th February 1889 for £12. The piano had, by this time been in the hands of Thomas Oetzmann before it was traded in to Broadwood's, sometime between 1870 and 1880, when he was trading from Baker Street, London as one can see his name plate which now appears on the underside of the lid, as well as Broadwood's name. No more records exist of this instrument until we bought it at auction in June 2002.
Construction
Upright Broadwood pianos dating from this time, as can be seen in this example, had a 6 and a half octave range rather than the modern 7 and a half range. Also notice the use of wooden pedals, free standing, legs, folding music stand and placement for candle holders on the upturned, underside of the lid. The original candle holders situated on the front face of the case, have been removed at some stage during its life.
Notice the sparing use of metal in the mid-19th Century construction
HAMMERS AND DAMPERS
Instruments of this date had much less 'power' than their modern equivalent. As a result, less damping was required to stop these strings due to them being under less tension. Notice the dampers being placed above the hammers and only the edge of the felt actually touching the string, rather than on a modern piano where the complete flat surface of the felt rests upon the string. Another interesting point is that there are two strings per note, whereas in modern instrument there are three strings at the highest pitch end of the piano, two, and then one at the lowest.
A full view of the dampers here. More damping is required with increasing string length (lowering of pitch). Even so, the amount of adequate damping material required is surprisingly little and I can testify, it does the 'job' perfectly well. Whether renovation work has been done or not (one would assume so with an instrument of this age, 'action' wear seems at a minimum.