Assignment 3 – The development of the Piano in the 19th Century

Described as “the golden age of the piano”, the 19th century saw a large number of developments in the technical enhancement, style of musical composition and public accessibility of the piano (Romantic Music, 2013).  Due to social, cultural and political changes following the Napoleonic and Civil wars, a new era of financial stability dawned, creating a new audience with a desire for cultural enlightenment both through the listening to, and performing of, music.  

Verotta (n.d.) describes how the keyboard family has developed since the Middle Ages with the invention of the clavichord, harpsichord and later the spinet or virginal.  These instruments were used both professionally and in the home and all bear a resemblance to the modern piano, adopting the same techniques of striking or plucking string.  Verotta suggests that the development of these hammered-string instruments may be borne from a desire to mimic the creations of Panteleon Hebenstreit (1669 – 1750), a composer famous for his virtuoso style on the hammered dulcimer; a primitive hammered stringboard instrument commonly linked to Ancient Persian culture.  Many composers, such as Bach, Scarlatti, Haydn and Mozart wrote solo, ensemble and orchestral pieces for the harpsichord and clavichord, such as Bach’s Minuet in G major (1725) and Scarlatti’s 500 Harpsichord Sonatas.  However, Dolge (1972) argues that composers became frustrated with these instruments.  For example, the clavichord lacked volume and the harpsichord lacked the ability to sustain notes.  Dolge (1972:41) goes on to write that:

“The desire to combine the wonderful tone sustaining capacity of the clavichord with the power of the harpsichord, was shared by musicians as well as builders”

The invention of the modern piano (pianoforte) can be credited to Italian instrument maker, Bartolomeo Cristofori (1655-1732), who developed the ‘hammer’ mechanism, which allowed the keys to be played in rapid succession.  He began producing the instrument around the beginning of the 1700’s and it seems likely that the production of this instrument, capable of a new sound, was the reason that composers began to move away from the use of older keyboard instruments in their compositions (Rowland, 1998). 

The development of the piano continued into the 18^th century, with instrument makers such as John Broadwood, Johann Andreas Stein and Robert Wornum adding valuable modifications, such as two strings per note, an increase in octave range and the standard ‘grand’ and ‘upright’ shape and design.  However, arguably it was not until the explosion of manufacturing processes during the Industrial Revolution of the late 18^th and 19^th centuries that the next crucial development was made. 

BBC History (2013) write that due to an, “an unprecedented explosion of new ideas and new technological inventions”, building and manufacturing materials such as iron became affordable and widely available. According to Palmieri (2003:33), Alpheus Babcock, a renowned piano maker and inventor, patented the single iron frame, or ‘plate’ in 1825, which not only gave the instrument a stronger body, but also gave a new level of tension on the strings, creating a new, distinct sound.   Later in the century, other important developments were added, such as the addition of multiple strings per note, Pape and Steinway’s alternative ‘overstrung’ and ‘duplex’ method of stringing; designed to create a variety in sound, felt covered hammers and Boisselot’s ‘Sostenuto’ pedal, which allowed notes to be sustained for longer periods.  Dobney (2004) writes that it was due to these developments and innovations that,

“the piano would remain a central component of domestic life until it was replaced by the phonograph, radio, and television in the twentieth century.”

It could be argued that the 19^th century was an important time for musical change as composers’ interest in Romanticism grew.  In an effort to break away from the conventions of eighteenth century classical techniques, influential musicians across the world were writing musical pieces based on emotions, stories and pictures, focusing more on the psychological effects of music rather than it’s ‘tonal perfection’.  In addition, the increase in economic stability meant that new, fresh audiences were choosing to access more music, thereby creating many new forms of performance.   It was during this period that piano ‘virtuoso’ performers began to appear, demonstrating extreme musical flair and ability.  Loveland (2010) describes how “the virtuoso came to resemble the modern-day celebrity”, which not only ushered in a new generation of composers and pianists, but also greatly boosted the popularity of the piano. 

The Music Salon (2013) describes how societal changes and developing musical audiences created a spike in public performances during the 19^th century.   Orchestral works, chamber ensembles and Opera became wildly popular and this era saw the erection of many famous music halls and opera houses such as The Royal Albert Hall (1871), The Vienna State Opera (1863) and Carnegie Hall (1891).   Whilst the keyboard section had been present in large ensemble works before the 19^th century, the popularity of piano concerto, largely during the Romantic era, created a new public forum of the pianoforte to interact with a range of other instruments.   Franz Liszt’s Piano Concerto No.1 in E-flat major S.124 (1849) demonstrates the harmonic interaction of the Romantic ensemble led by the piano; and the virtuoso piano styling of Liszt himself.   In contrast Edvard Grieg’s Piano Concerto in A minor Op.16 (1868) seems to perhaps focus less on the virtuoso style, and more and the harmonic blend of the instrumentation. 

However, it could be argued that the most dramatic change in the piano’s performance history was due to the newfound accessibility of musical instruments.  Piano makers such as Broadwood & Sons, Steinway & Sons and Collard & Collard combined cabinet making with instrument craft, creating a large increase in the number of pianos bought for use in the home.  Cantagrel (2004) describes how, during the Romantic period, the piano became an integral part of the musical culture and the family home. He also states that the piano provided a social experience both within the home and through public and salon performances, becoming “the TV room of the 19^th Century”.

Salon music provided the listener with the opportunity to bring the concert to smaller intimate venues and listen to shorter and more characterful pieces. These often focused on the display of virtuoso style, composed for solo Piano or Piano accompanied by a single instrument.   Weber (2004) describes how Salon performances were very popular amongst composers such as Chopin and Liszt as these were an opportunity to showcase their work and virtuosic styles.  Christian Sinding’s Frühlingsrauschen, Op. 32, No. 3 (1896), which translates to the ‘Rustle of Spring’, makes heavy use of a virtuoso piano style. This piece also demonstrates Romantic style of painting the vivid pictures and adopts varying moods and emotions through music.

Another major 19^th century development that changed the face of the piano was the creation of transcriptions of famous, popular pieces of the time.  The popularity of symphonic and operatic pieces by composers such as Wagner and Beethoven was fast growing.  It therefore stands to reason that the new generations of musicians wanted to find a way to ‘relive’ these pieces within the home.  Franz Liszt was a notable composer within this style, most famously transcribing Beethoven’s Fifth Symphony (1804-1808), in 1840.  Although these transcriptions for solo instruments may have lacked the emotional depth and intensity provided by a full ensemble, they certainly serve as an homage to the original pieces and gave players the ability to demonstrate virtuoso styles.   

When listening to Liszt’s transcription of Beethoven’s symphony, I drew comparisons to modern solo transcriptions of popular pieces such as Miller’s Really Easy Piano Collection: 50 fabulous songs (2009).  I feel that both Liszt and Miller, have, to different extents, exploited the piano’s large range in order to represent the different ‘major’ components of the songs they are transcribing.   The piano’s ability to express both the treble and bass clef simultaneously makes it almost unique in its ability to mimic the parts of multiple instruments.  

The pianos continuing popularity also provided greater commercial opportunity during the latter half of the 19^th century, coinciding with the Industrial Revolution.   The rising ‘celebrity’ status of virtuoso players such as Liszt, Chopin, Thalberg and Busoni (Loveland, 2010), created a desire for ‘home pianists’ to purchase sheet music of transcriptions and new compositions.  In a time before recording equipment, this would have been the only means by which music would have spread through the world and Tschmuck (2006:2) writes,

“At the heart of the music industry during the last third of the 19^th century were music publishers and promoters, whose market power depended on the technological base of music concerts and the subsequent distribution of music through mass-produced sheet music.”

It is undeniable that the 19^th century provided the ‘golden age’ of the piano, both in terms of its development and popularity.   Romantic musical concepts, matched with the growing extravagance of the virtuoso style in a changing economic world, created a new generation of musicians with access to both classical and modern ‘philosophical’ musical techniques.  However, it is arguably the Industrial Revolution that can claim the greatest responsibility for the commercial success of the piano.  It was due to these developments that a new level of affluence was seen amongst the population, affording them the opportunity to experience subjects such as literature, philosophy and the arts, which may have been previously reserved for the higher classes. 

However, whether the composers, musical direction or economic changes can be credited for the development of the piano, the 19^th century was undeniably the biggest time of change for the instrument that has helped to shape modern music.  Shepp (1995) writes,

“The piano changed the entire direction of Europe’s music, and changed the musical culture of the Western Civilization. Indeed, the influence upon society that came from the piano’s invention was great, as it remains to this day.”