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<!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html> <head><script type="text/javascript" src="/_static/js/bundle-playback.js?v=HxkREWBo" charset="utf-8"></script> <script type="text/javascript" src="/_static/js/wombat.js?v=txqj7nKC" charset="utf-8"></script> <script>window.RufflePlayer=window.RufflePlayer||{};window.RufflePlayer.config={"autoplay":"on","unmuteOverlay":"hidden"};</script> <script type="text/javascript" src="/_static/js/ruffle/ruffle.js"></script> <script type="text/javascript"> __wm.init("https://web.archive.org/web"); __wm.wombat("http://www.frederickcollection.org:80/collection.html","20061208103907","https://web.archive.org/","web","/_static/", "1165574347"); </script> <link rel="stylesheet" type="text/css" href="/_static/css/banner-styles.css?v=S1zqJCYt" /> <link rel="stylesheet" type="text/css" href="/_static/css/iconochive.css?v=3PDvdIFv" />  <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <meta name="GENERATOR" content="Mozilla/4.79 [en]C-CCK-MCD NSCPCD479 (Windows NT 5.0; U) [Netscape]"> <meta name="ProgId" content="FrontPage.Editor.Document"> <title>THE FREDERICK PIANO COLLECTION</title> </head> <body> <a href="index.html">Return to the Frederick Collection Homepage</a> <center> FREDERICK HISTORIC PIANO COLLECTION THE FREDERICK PIANO COLLECTION</center> The purpose of the Frederick Piano Collection is to give musicians and music lovers a chance to hear works by major piano composers, played on pianos such as those the composers knew, and for which their music was conceived. 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). 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 period of pianos in the Collection extends from about 1790 to 1907, representing music from Haydn and Beethoven through the French Impressionists.     <center> RESTORED, PLAYING NINETEENTH CENTURY GRAND PIANOS in the COLLECTION of EDMUND MICHAEL FREDERICK and PATRICIA FREDERICK  ASHBURNHAM, MASSACHUSETTS, USA</center> <table border width="99%" height="483"> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"> <center> Click on photo for a larger view.</center> </td> <td align="LEFT" valign="TOP" width="33%" height="19">MANUFACTURER</td> <td align="LEFT" valign="TOP" width="32%" height="19">DATE OF MANUFACTURE</td> <td align="LEFT" valign="TOP" width="25%" height="19">WHERE BUILT</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Anon1790.htm" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Anon1790_004s.JPG" border="0" height="60" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Unsigned Piano Click on photo for additional views.</td> <td align="LEFT" valign="TOP" width="32%" height="19">c. 1795</td> <td align="LEFT" valign="TOP" width="25%" height="19">Viennese type</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Brod1800-05.htm" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Brod1800-05_001s.jpg" border="0" height="129" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Joseph Brodmann Click on photo for additional views.</td> <td align="LEFT" valign="TOP" width="32%" height="19">c. 1800-1805</td> <td align="LEFT" valign="TOP" width="25%" height="19">Vienna</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Cleme1806.htm" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Cleme1806_001s.JPG" border="0" height="117" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Clementi Click on photo for additional views.</td> <td align="LEFT" valign="TOP" width="32%" height="19">1805</td> <td align="LEFT" valign="TOP" width="25%" height="19">London</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="27"><a href="Katho1805.html" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Katho1805_001s.jpg" border="0" height="117" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="27">Katholnig. Click on photo for additional views and details.</td> <td align="LEFT" valign="TOP" width="32%" height="27">c. 1805-1810</td> <td align="LEFT" valign="TOP" width="25%" height="27">Vienna</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Bosen1828.htm" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Bosen1828_001s.JPG" border="0" height="117" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Bösendorfer  Click on photo for additional views.</td> <td align="LEFT" valign="TOP" width="32%" height="19">c. 1828-1832</td> <td align="LEFT" valign="TOP" width="25%" height="19">Vienna</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Graf1828.htm" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Graf1828_001s.JPG" border="0" height="117" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Graf  Click on photo for additional views.  </td> <td align="LEFT" valign="TOP" width="32%" height="19">c. 1828-1829</td> <td align="LEFT" valign="TOP" width="25%" height="19">Vienna</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="20"><a href="Stoda1830.html" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Stoda1830_001s.JPG" border="0" height="117" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="20">Stodart  Click on photo for additional views and details.</td> <td align="LEFT" valign="TOP" width="32%" height="20">c. 1830</td> <td align="LEFT" valign="TOP" width="25%" height="20">London</td> </tr> <tr> <td></td> <td>Tröndlin</td> <td>1830</td> <td>Leipzig</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"></td> <td align="LEFT" valign="TOP" width="33%" height="19">Erard</td> <td align="LEFT" valign="TOP" width="32%" height="19">1839</td> <td align="LEFT" valign="TOP" width="25%" height="19">Paris</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Pleye1845.html" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Pleye1845_001s.JPG" border="0" height="117" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Pleyel Click on photo for additional views.</td> <td align="LEFT" valign="TOP" width="32%" height="19">1845</td> <td align="LEFT" valign="TOP" width="25%" height="19">Paris</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="18"><a href="Bosen1845.htm" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Bosen1845_001s.JPG" border="0" height="66" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="18">Bösendorfer Click on photo for additional views..</td> <td align="LEFT" valign="TOP" width="32%" height="18">c. 1845-1846</td> <td align="LEFT" valign="TOP" width="25%" height="18">Vienna</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Strei1846.html" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Strei1846_002s.JPG" border="0" height="117" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Streicher Click on photo for additional views.</td> <td align="LEFT" valign="TOP" width="32%" height="19">1846</td> <td align="LEFT" valign="TOP" width="25%" height="19">Vienna</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Strei1868.html" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Strei1868_001s.JPG" border="0" height="66" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Streicher Click on photo for additional views.</td> <td align="LEFT" valign="TOP" width="32%" height="19">1868</td> <td align="LEFT" valign="TOP" width="25%" height="19">Vienna</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Strei1871.html" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Strei1871_001s.jpg" border="0" height="90" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Streicher</td> <td align="LEFT" valign="TOP" width="32%" height="19">1871</td> <td align="LEFT" valign="TOP" width="25%" height="19">Vienna</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Broad1871.htm" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Broad1871_001s.JPG" border="0" height="124" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Broadwood Click on photo for additional views and details.</td> <td align="LEFT" valign="TOP" width="32%" height="19">1871</td> <td align="LEFT" valign="TOP" width="25%" height="19">London</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Bosen1877.htm" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Bosen1877_001s.JPG" border="0" height="60" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Bösendorfer Click on photo for additional views and details.</td> <td align="LEFT" valign="TOP" width="32%" height="19">1877</td> <td align="LEFT" valign="TOP" width="25%" height="19">Vienna</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Erard1877.htm" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Erard1877_001s.JPG" border="0" height="117" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Erard "Extra-grand modèle de concert"  Click on photo for additional views.</td> <td align="LEFT" valign="TOP" width="32%" height="19">c. 1877-1878</td> <td align="LEFT" valign="TOP" width="25%" height="19">Paris</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Bluth1877.htm" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Bluth1877_001s.jpg" border="0" height="109" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Blüthner Click on photo for additional views.</td> <td align="LEFT" valign="TOP" width="32%" height="19">1877</td> <td align="LEFT" valign="TOP" width="25%" height="19">Leipzig</td> </tr> <tr> <td></td> <td>Erard</td> <td>1893</td> <td>Paris</td> </tr> <tr> <td align="CENTER" valign="TOP" width="4%" height="19"><a href="Bluth1907.htm" target="_blank"><img src="/web/20061208103907im_/http://www.frederickcollection.org/Bluth1907_002s.JPG" border="0" height="66" width="88"></a></td> <td align="LEFT" valign="TOP" width="33%" height="19">Blüthner Click on photo for additional views.</td> <td align="LEFT" valign="TOP" width="32%" height="19">1907</td> <td align="LEFT" valign="TOP" width="25%" height="19">Leipzig</td> </tr> </table> <center> GRAND PIANOS CURRENTLY UNDERGOING or AWAITING RESTORATION in the collection of EDMUND MICHAEL FREDERICKand PATRICIA FREDERICK, ASHBURNHAM, MASSACHUSETTS, USA</center> <table border width="100%" height="375"> <tr> <td width="4%" height="19"> </td> <td width="24%" height="19">MANUFACTURER</td> <td width="32%" height="19">DATE OF MANUFACTURE</td> <td width="25%" height="19">WHERE BUILT</td> <td width="6%" height="19"> </td> </tr> <tr> <td width="4%" height="21"> </td> <td width="28%" height="21">Carolus Benedict</td> <td width="35%" height="21">c. 1790</td> <td width="27%" height="21">Gratz</td> <td width="6%" height="21"> </td> </tr> <tr> <td width="4%" height="21"> </td> <td width="28%" height="21">Seuffert</td> <td width="35%" height="21">c. 1812</td> <td width="27%" height="21">Vienna</td> <td width="6%" height="21"> </td> </tr> <tr> <td width="4%" height="21"> </td> <td width="28%" height="21">Frenzel</td> <td width="35%" height="21">c. 1820-1825</td> <td width="27%" height="21">Lintz</td> <td width="6%" height="21"> </td> </tr> <tr> <td width="4%" height="21"> </td> <td width="28%" height="21">Pleyel</td> <td width="35%" height="21">c. 1835</td> <td width="27%" height="21">Paris</td> <td width="6%" height="21"> </td> </tr> <tr> <td width="4%" height="21"> </td> <td width="28%" height="21">Erard</td> <td width="35%" height="21">1837</td> <td width="27%" height="21">Paris</td> <td width="6%" height="21"> </td> </tr> <tr> <td width="4%" height="21"> </td> <td width="28%" height="21">Böhm</td> <td width="35%" height="21">c. 1840</td> <td width="27%" height="21">Vienna</td> <td width="6%" height="21"> </td> </tr> <tr> <td width="4%" height="20"> </td> <td width="28%" height="20">Schweighofer</td> <td width="35%" height="20">c. 1840-1845</td> <td width="27%" height="20">Vienna</td> <td width="6%" height="20"> </td> </tr> <tr> <td width="4%" height="21"> </td> <td width="28%" height="21">Pleyel</td> <td width="35%" height="21">1842</td> <td width="27%" height="21">Paris</td> <td width="6%" height="21"> </td> </tr> <tr> <td width="4%" height="21"> </td> <td width="28%" height="21">Erard</td> <td width="35%" height="21">c. 1852-1853</td> <td width="27%" height="21">Paris</td> <td width="6%" height="21"> </td> </tr> <tr> <td width="4%" height="21"> </td> <td width="28%" height="21">Chickering</td> <td width="35%" height="21">1856</td> <td width="27%" height="21">Boston</td> <td width="6%" height="21"> </td> </tr> <tr> <td width="4%" height="21"> </td> <td width="28%" height="21">Streicher</td> <td width="35%" height="21">1860</td> <td width="27%" height="21">Vienna</td> <td width="6%" height="21"> </td> </tr> <tr> <td></td> <td>Bösendorfer</td> <td>c. 1865</td> <td>Vienna</td> <td></td> </tr> <tr> <td></td> <td>Ehrbar</td> <td>c. 1879</td> <td>Vienna</td> <td></td> </tr> </table> <center> FREDERICK COLLECTION PIANOS: BRIEF DESCRIPTIONS</center> Unsigned Piano, c. 1795, in South German/Viennese style. Typical of its time and place; state-of-the-art at the end of Mozart's lifetime. Case, with all-over geometric marquetry, evidently re-used from a mid-18th century harpsichord. Reverse-color keyboard. Knee levers control dampers, mute stop. Joseph Brodmann, c. 1800-1805, Vienna. Five and-a-half octaves FF to c; knee levers control dampers and a moderator (now missing). A major Viennese piano builder, Brodmann was the master to whom the young Ignaz Bösendorfer was apprenticed. Muzio Clementi, 1805, London. This piano helps to explain matters of compositional style in Haydn's "London" sonatas: Haydn, living in London in 1794, wrote his three last piano sonatas in an idiom particularly suited to English pianos of the time, and took a Longman & Broderip piano with him on his return to Vienna. When Longman and Broderip bankrupted in 1798, the composer Muzio Clementi, a major shareholder, became a partner in the reorganized firm, which became known as Longman, Clementi & Co. In 1801, Longman left to establish his own business; the present piano, made in 1806, bears only Clementi's name. This instrument is decorated with painted flowers and line inlays. Caspar Katholnig, c. 1805-1810, Vienna. Purchased from Manfred, Count von Schönborn, whose signed affidavit states that the piano had been part of the entailed estate of his wife's family, the Esterhazys at their palace at Eisenstadt, the Katholnig was almost certainly played by the composer and pianist Johann Nepomuk Hummel (who as a child prodigy had been a pupil of Mozart and of Clementi.) Hummel was Haydn's successor to the position of Kapellmeister to the Esterhazys, serving in that capacity from 1804-1811. This piano may have been at the Esterhazy palace at Eisenstadt when Beethoven was there to conduct a concert in 1807. Since the Katholnig represents the last kind of piano sound Beethoven was able to hear before becoming severely deaf, one may suppose his compositions even after this time were conceived for the kind of piano tone Beethoven remembered, rather than for later instruments whose sound he could only imagine. The reverse color keyboard is quite typical of Viennese pianos made around 1810. The pedals are, from left to right, una corda, "bassoon stop" (an uncouth effect for popular music of its day, presently disconnected;) the moderator (a mute stop, yielding a pianississimo;) and the damper pedal. From our late-twentieth-century viewpoint, it is easy to forget that the tone of the Katholnig, while smaller than we are accustomed to, as compared to the sound of the earlier pianos of Beethoven's youth, is full, rich and modern. This is vividly demonstrated by a comparison of the Katholnig with the c.1790s anonymous piano in the Frederick Collection, which stands beside it in the Collection. Bösendorfer, c. 1828-1832, Vienna. Ignaz Bösendorfer studied piano making under Joseph Brodmann (see above), working his way up to shop foreman, and eventually taking over the firm when Brodmann retired. The name label on this piano says, "Ignaz Bösendorfer Brodmanns SchülerBürger in Wien" (Brodmann's pupil, respectable middle-class citizen of Vienna). Since Bösendorfer is known to have become a "Bürger in Wien" in 1828, the piano cannot have been made before 1828. By 1832, Brodmann had retired, turning over the shop to Bösendorfer. Brodmann may have retired gradually, phasing out his involvement with the shop over a period of months or years. Just when, between 1828 and 1832, the transition was complete, we have been unable to learn. Conrad Graf, c. 1828-'29, Vienna. Graf's pianos were held in the highest regard by pianists playing in Vienna. Graf's instruments were played by Chopin, Mendelssohn, Robert and Clara Schumann, and, later, Liszt. This particular instrument is reputed to have belonged to a distinguished family of Viennese music patrons, the Sonnleithners, who would have had the best the builder could offer. It is in almost original condition, with all but a few of its original strings. William Stodart, c. 1830, London. The metal frame in this piano, built of iron and brass tubular braces, was patented in 1820 by Messrs. Thom and Allen of the Stodart firm. The piano is a good example of an English piano of its time. Ignace Pleyel, 1835, Paris. Pleyel was the favorite make of Chopin from his arrival in Paris in 1831. This piano has extremely soft hammer felts, yielding an ethereal, intimate tone of the kind Chopin seems to have preferred. It is presently awaiting renovation and not currently on display. Erard, 1839, Paris. Six and two thirds octaves, CC-a4 (originally to g). Inventor of the double-escapement repetition action, Erard was the direct competitor of Pleyel. Liszt's preference was for Erard's more dramatic range of tone colors, while Chopin played both makes, preferring the more intimate sound of the Pleyel except when he was feeling ill and wanted a piano that would produce more effects with less effort. This piano works well for both composers' music. Ignace Pleyel, 1845, Paris. Ten years later than the above-listed piano, this instrument shows an apparent effort by Pleyel to build a more outspoken piano. It is quite different from the Viennese pianos of the day, in construction and in sound, but is also very unlike pianos by its chief Paris competitor, Erard. Bösendorfer, c.1845-'46, Vienna. The present instrument, typical of mid-nineteenth-century Viennese pianos, is parallel-strung, with a range of CC - a4.This piano and the 1846 Streicher, (range AAA - a4) both by leading makers, and similar in appearance, are noticeably different in sound and touch. Among other differences, the Bösendorfer offers a more uniform tone throughout its range, while the Streicher has more distinctive registers. Visitors to the collection tend to be equally divided in their preference for one or the other, just as, one would imagine, were people in Vienna in the 1840s. Pianos such as these were played in concert by Franz Liszt and Clara Schumann. Streicher, 1846, Vienna. See c.1845-'46 Bosendorfer above. Erard, c.1852-'53, Paris. Erard maintained its place as leading French builder of concert pianos from about 1830 to the early 20th century. Liszt and other virtuosi frequently used Erard pianos. Chickering, 1856, Boston. One of only two American pianos in the Collection, this large grand piano boasts a Victorian case with figured rosewood veneer, and high-relief castings of roses and lilies in its iron plate. Louis Gottschalk used Chickering pianos. (n.b. This instrument is not on display at the Study Center. It can be seen by special arrangement. It plays, but is not really concert ready.) Steinway, 1866, New York. This is the Steinway model which won first prize at the Paris Exposition of 1867 (an honor shared, with argument, by Chickering.) The fact that this piano's sound bears a family resemblance to later Steinway tone is somewhat surprising, considering subsequent major changes in design and materials. Streicher, 1868, Vienna, serial number 6668. Brahms's Streicher piano, also made in 1868, was number 6713, and was made after the company changed the design of their instruments.  For a piano of the same model as Brahms's, see the 1871 Streicher below. Streicher, 1871, Vienna. Brahms's own studio piano for the last twenty-five years of his life was an 1868 Streicher, acquired in 1872. The 1871 model is probably the same as his, but since Brahms's piano was destroyed during World War II, a direct comparison is not possible. Broadwood, 1871, London. Broadwood was the leading English piano manufacturer throughout the 19th century. Pianists playing in London often used Broadwood pianos. Bösendorfer, 1877, Vienna. One of the leading Viennese pianos from 1828 century to the present, Bösendorfers were played by Brahms, Liszt, and other important pianists in concerts in the Austro-Hungarian Empire. Erard, 1877-'78, Paris. This "extra grand modèle de concert" has an enormous dynamic range, is clearly intended for use in public space and can hold its own with an orchestra. It has ninety (rather than 88) keys, extending to a low G in the bass. Erard, the official make used by the Paris Conservatoire, was favored by French composers Fauré, Saint- Saëns, and Ravel, as well as by Clara Schumann and Liszt. Blüthner, 1877, Leipzig.This piano has an unusual string layout; the lowest eighteen notes are flat-strung, while the next thirteen are overstrung. Originally it was fitted with Blüthner's patent Aliquot string system; these were strings tuned in unison with the highest notes, then an octave higher than those to the E below Middle C. Mounted just above those struck by the hammers, the Aliquot strings were activated by sympathetic vibration during loud playing. At some time, the Aliquot strings were removed; the agraffes or guides that carried them, and their tuning pins were removed and the tuning pin holes filled with wood putty. Restoration of the Aliquot system, while not necessary to the musical function of the piano, is desirable for the instrument's integrity. Erard, 1893, Paris. A more modest-sized piano than the concert model, this Erard has the clarity throughout its range that distinguishes pianos by this firm. It has been used for concerts in smaller halls where the larger instrument would be overpowering. It is particularly suited to French music of the late 19th and early 20th centuries. Blüthner, 1907, Leipzig. This is the only 20th century piano in the Collection. Debussy had a Blüthner grand piano which he acquired in 1904. It is typical of German piano making of the time, with a very sweet, clear, even tone throughout its range. It can produce an almost inaudible pianississimo, somewhat startling in a half-ton, nine-foot instrument with a massive cast-iron plate. For further information on the Historical Piano Concert Series, The Historical Piano Study Center, or any other item on this page please send e-mail to <script language="Javascript">  </script> . For complete contact information and how you can help support the Historical Piano Concert Series and/or The Historical Piano Study Center, please <a href="contactinfo.html">click here</a> . Questions or comments about this web site should be sent to the <script language="Javascript">  </script> . </body> </html>