Erard Grand Piano

[Farrell]

This is a question for Bill Shull (or anyone else!). I looked at a 19th
Century Broadwood a while back and it had the exact plate/bar/pinblock
system you describe: "bars bolted to pinblock and rear hitch pin plate".
Straight strung, simple english action. Do you have any idea what range of
manufacturing dates this belly design would fall between? Thanks.

Terry Farrell

----- Original Message -----
From: <Bdshull@AOL.COM>
To: <pianotech@ptg.org>
Sent: Tuesday, October 02, 2001 11:03 PM
Subject: Re: Erard Grand Piano


> Hi, Clark:
>
> Wow.  Keith is right, Ed Swenson is the person to contact.
>
> Being a co-owner of an 1840's Paris Erard myself, I am particularly
> interested in your find.  Are you able to get a few pictures for us?
>
> I am intrigued by the serial # - you listed 60060, which would be closer
to
> 1887 (maybe you meant that) and even with all the Anglo references that
would
> be a Paris Erard, I believe.
>
> By this time the plate would be cast iron, not bars bolted to pinblock and
> rear hitch pin plate, right?   I am very interested to know if it is bars
and
> hitch plate.
>
> Are you sure it has been restrung?   This piano may or may not have cast
> steel wire - probably not.  If it didn't originally, then later
restringing
> with modern cast steel wire would compromise the design and possibly the
> structure, pushing the tensions up but not high enough for the short
string
> lengths in the treble to sound good.  Erard was one of the last builders
to
> go modern.  The second-generation Erard action you describe is an example
of
> this:  very much like the original 1821 concept with the spring-loaded
> dampers operating from under the strings.   Juan Mas Cabre's Pure Sound
wire
> for 19th century pianos is the best wire for this piano - through the
Journal
> or Ed.
>
> Very exciting!  I hope you keep us updated, Clark.
>
> Bill Shull, RPT
> CSUSB, La Sierra University
>
> In a message dated 10/2/01 6:10:13 PM Pacific Daylight Time,
> clarks11628@juno.com writes:
>
> <<  had
>  > the opportunity to go and tune an "antique" grand piano today, and
>  > going in, that is all I knew.  It took my breath away, and I have
>  > been in shock ever since.
>  >         It turned out to be the most beautiful, ornate (I know that
>  > ornate does not a piano make!) piano I have ever had the pleasure to
>  > tune.  It was a specially commissioned Erard, circa 1878 (serial #
>  > on the soundboard was 60060, signed by Erard).  The entire cabinet
>  > was done by a cabinet maker by the name of Savant?  (it was signed
>  > on a little brass plaque on the left rim edge).  Apparently it was a
>  > custom, specially commissioned piano for the British Embassy, and it
>  > had the Royal Seal of Britain on the side of the rim, done in
>  > bronze, and a special bronze leaf-like trim all around the case.
>  > Near perfect ivories, I didn't inspect the board or bridges too
>  > closely, but they appeared at first glance to be serviceable.
>  >         What I did notice, though, was that it had #1 pins, which
>  > were all loose, some worse than others; the strings were showing a
>  > little rust, and it had been restrung at one time, as evidenced by
>  > the stringing scale written in pencil on the plate,  and the really
>  > funky feeling action, with the dampers coming up from under the
>  > strings.  No way was I going to pull the action without knowing what
>  > I was getting into. The dampers were worn and kind of fuzzy looking,
>  > and the hammers were worn, although not too badly.
>  >         We got to talking, and the lady told me where she got the
>  > piano, showed me the documentation she got with it, and how much she
>  > paid for it.  I told her my observations on the condition of the
>  > piano, and she asked me how much getting it re-whatever would cost.
>  > I told her that you just didn't call Joe the corner Rebuilder for a
>  > piano like this, and that I would do some research for her.
>  >         Like I said, the cabinet is breath-taking (at least it was
>  > to me).  What would you recommend?  Who would you recommend?  What
>  > kind of differences are there in the action?  It was straight
>  > strung, with individual looped strings, ala Bluthner,etc.  If she
>  > decided to do a job on it, I could repin, restring, etc,  but what
>  > kinds of problems will I encounter?
>  >         This has been long-winded enough.  I sure would appreciate
>  > some advice here.  Maybe there is a job in this for somebody, and
>  > she apparently has the money.  Any advice would be appreciated
>  > muchly!!
>  >
>  > Clark Sprague, RPT
>  > Detroit/Windsor Chapter
>  > Evola Music of Ohio, Toledo
>   >>