various artists compilation - V. & A. Early Pianos: Vol. II of the Collection of Historic Instruments
LP released in 1968
The Collection of Historic Instruments at the Victoria & Albert Museum: Vol. II EARLY PIANOS
It is improbable that any of the four pianos on this recording will ever be played again. They were restored to playing order for these recordings, and then the strings were slackened off to prevent possible warping. This LP is therefore a unique document. The instruments can be seen in the Music Gallery where a further selection of music on these and other instruments can be heard on the special "juke box". THE CATALOGUE OF MUSICAL INSTRUMENTS IN THE VICTORIA AND ALBERT MUSEUM Vol. I contains a history of the collection and full details of these pianos by Austin Niland. These notes are derived from the Catalogue.
The main nucleus of the V. & A. collection comes from the Great Exhibition of 1851, but the pianos on this record were all acquired at a later date and, with the exception of the Zumpe, were privately donated.
SQUARE PIANOFORTE by Johann Christoph Zumpe, 1767. The earliest known English pianoforte of normal construction. There are two hand stops inside the case on the left for raising bass and treble dampers dividing at middle C. These were not used in the recording.
SQUARE PIANOFORTE by Longman & Broderip, London, c. 1795. Typical of the instruments produced by the firm. There is no provision for a forte stop or pedal. Like the Zumpe, the stringing is bichord.
CABINET PIANOFORTE (GIRAFFE PIANO) by van der Hoef, Amsterdam, c. 1810. The pedals, from left to right, operate the following effects: 1. bassoon, 2. drum (not used in the recording), 3. piano, 4. triangle (small bells), 5. una corda and 6. forte. Leather covered hammers, Bichord throughout.
GRAND PIANOFORTE by Robert Wornum & Sons, London, c. 1875. Made for Sir Henry Cole, one time Director of the Museum. Downstriking action which was adopted in an attempt to overcome the structural weakness caused by the gap between wrestplank and soundboard of upstriking instruments. Two pedals: una corda, and forte. This instruments is not illustrated on our cover. The case of pine is decorated with painted designs by John Gamble (1837-1911); along the sides of the case are represented several musical instruments, some of which are part of the V. & A. collection.
The repertoire is all popular domestic music intended to display the full musical potential of each instrument. Variations of God save the King was chosen because of its great popularity in the eightenth century and because when J. C. Bach gave the first public recital in 1768 in London on a pianoforte, he played a Zumpe. The Arne Sonata is a more accomplished work that stretches the expressive powers of the instruments to its limits. Les Languers Tendres is admirably suitable for display of the surprisingly rich bass. Both the Zumpe and the next piano have leather covered hammers, giving the attack a particular quality, reminiscent of the harpsichord. The Sonata by Samuel Arnold (1740-1802) on the Longman & Broderip piano was published in London in 1775; it comes from a "Second Sett of 8 Lessons for Harpsichord or Piano forte". Not until the turn of the century, when the piano was firmly established as the favourite instrument, did publishers dare drop the alternative "harpsichord" from the title page.
Daniel Steibelt (1765-1823) - once considered the rival of Beethoven - wrote many battle pieces for the Giraffe-type piano with its array of effects. La Journee d'Ulm celebrates one of Napoleon's victories. The music is carefully scored for the effects and includes a written-in commentary. The extract starts where the Grenadiers go into battle. The buzzing sound on certain notes in the bass represent canon fire and are produced by the bassoon stop. Then follow musket fire, horses charging, cries of the wounded, song of victory, dirge of prisoners, and the triumphant march. A set of variations, and the final page - "Maintenant, Francais, vers les Russes!" have been omitted. The last piece, Bacchanale, brings the bell effect into operation.
Inferior music often has a more distinct period flavour than good music. The two pieces by Sydney Smith (1839-1889), with their tumbling cascades of notes and elegant effects, give full reign to the Victorian character of the Wornum, which has felt hammers.
Throughout rehearsal and recording sessions all these pianos, with their wooden frames, never failed mechanically nor needed anything but the minimum of re-tuning. This is a considerable tribute to the restorers, John Barnes and B. S. Roguski. (Madeau Stewart)
Tracklisting:
Side A
1. Esther Fisher - God Save the King & Variations {3:15}
performed on Zumpe piano; composed by J. C. Bach
2. Esther Fisher - Sonata No. 2 {7:39}
performed on Zumpe piano; composed by Arne
3. Esther Fisher - La Caroline {2:17}
performed on Zumpe piano; composed by C. P. E. Bach
4. Esther Fisher - Les Langueurs Tendres {1:25}
performed on Zumpe piano; composed by C. P. E. Bach
5. Esther Fisher - Sonata 11 in a minor {4:58}
performed on Longman & Broderip piano; composed by Samuel Arnold
Side B
1. Valda Aveling - La Journee d'Ulm {5:14}
performed on van def Hoef Giraffe piano; composed by Steibelt
2. Valda Aveling - Bacchanale {2:43}
performed on van der Hoef Giraffe piano; composed by Steibelt
3. Malcolm Binns - Jet d'eau {2:18}
performed on Wornum piano; composed by Sydney Smith
4. Malcolm Binns - Golden Bells {6:18}
performed on Wornum piano; composed by Sydney Smith
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