Intimate tone of the kind Chopin seems to have preferred. This piano has extremely soft hammer felts, yielding an Pleyel was the favorite make of Chopin from his arrival in Paris Instruments were praised by Clara Schumann and Felix Mendelssohn Subsequently he established his own business, which was sold in 1855. The instrument manufacture division of Breitkopf & Hï¿½rtel in Johann Nepomuk Tröndlin (1790-1862) studied instrument The piano is a good example of an English piano of its time.ġ839, Leipzig. The metal frame in this piano, built of iron and brassīraces, was patented in 1820 by Messrs. Is in almost original condition, with all but a few of its originalġ830, London. Sonnleithners, who would have had the best the builder could offer. To have belonged to a distinguished family of Viennese music patrons, Graf's instruments were played by Chopin, Mendelssohn,Īnd Clara Schumann, and, later, Liszt. Graf's pianos were held in the highest regard by pianists When, between 18, the transition was complete, we have been Out his involvement with the shop over a period of months or years. Brodmann may have retired gradually, phasing By 1832, Brodmann had retired, turning over Is known to have become a 'Bürger in Wien' in 1828, the piano cannot (Brodmann's pupil, respectable middle-class citizen of Vienna). Says, 'Ignaz Bösendorfer Brodmanns SchülerBürger in Wien' Taking over the firm when Brodmann retired. Ignaz Bösendorfer studied piano making under Josephīrodmann (see above), working his way up to shop foreman, and This is vividlyīy a comparison of the Katholnig with the c.1790s anonymous piano inįrederick Collection, which stands beside it in the Collection.ġ828-1832, Vienna. Of Beethoven's youth, is full, rich and modern. Than we are accustomed to, as compared to the sound of the earlier Viewpoint, it is easy to forget that the tone of the Katholnig, while Stop, yielding a pianississimo ) and the damper Popular music of its day, presently disconnected ) the moderator (a Left to right, una corda, 'bassoon stop' (an Is quite typical of Viennese pianos made around 1810. Severely deaf, one may suppose his compositions even after this timeĬonceived for the kind of piano tone Beethoven remembered, rather thanįor later instruments whose sound he could only imagine. The last kind of piano sound Beethoven was able to hear before becoming To the Esterhazys, serving in that capacity from 1804-1811.Īt the Esterhazy palace at Eisenstadt when Beethoven was there to Nepomuk Hummel (who as a child prodigy had been a pupil of Mozart andĬlementi.) Hummel was Haydn's successor to the position of Katholnig was almost certainly played by the composer and pianist

Of his wife's family, the Esterhazys at their palace at Eisenstadt, the Signed affidavit states that the piano had been part of the entailed

Purchased from Manfred, Count von Schönborn, whose This instrument is decorated with painted flowers andġ805-1810, Vienna. To establish his own business the present piano, made in 1806, bearsĬlementi's name. Which became known as Longman, Clementi & Co. When Longman and Broderip bankrupted in 1798, the composerĬlementi, a major shareholder, became a partner in the reorganized Time, and took a Longman & Broderip piano with him on his Piano sonatas in an idiom particularly suited to English pianos of the 'London' sonatas: Haydn, living in London in 1794, wrote his three last This piano helps to explain matters of compositional style in A major Viennese piano builder,īrodmann was the master to whom the young Ignaz Bösendorfer was Five and-a-half octaves FF to c knee levers controlĭampers and a moderator (now missing). Case, with all-over geometricĮvidently re-used from a mid-18th century harpsichord.

Typical of its time and place Īt the end of Mozart's lifetime. GRAND PIANOS CURRENTLY UNDERGOING or AWAITING RESTORATIONįREDERICK COLLECTION PIANOS: DESCRIPTIONSġ795, in South German/Viennese style. RESTORED, PLAYING NINETEENTH CENTURY GRAND PIANOS in the COLLECTION ofĮDMUND MICHAEL FREDERICK and PATRICIA FREDERICKĬlick here for a brief description and additional photos. The period of pianos in the Collection extends from about 1790 to 1928, representing music from Haydn and Beethoven through the French Impressionists. It aims to match each instrument to a specific composer or generation of composers known to have used or preferred that make and vintage of piano. The Collection includes only grand pianos, by important makers whose instruments were highly regarded in their day, acquired in basically good condition, with most of their original materials intact (especially soundboards). Works by major piano composers, played on pianos such as those theĬomposers knew, and for which their music was conceived. Piano Collection is to give musicians and music lovers a chance to hear MEET THE FREDERICK PIANO COLLECTION Historical Pianos you can reach out, touch, and hear.

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