Squares & Bird-Cages

[Joseph Garrett]

All,
Things have finally slowed down so that I may set down my philosophies
regarding these instruments. The main thread was about Bird-Cage pianos,
but, in my opinion, the philosophy should be the same. Having said that, I
submit to you all how to approach these instruments. I would, first, ask you
to reserve your conclusions and comments until I have finished and would
also like to start with a story:
    Imagine that the time is 1890 and you have finally achieved stature in
your community. You now have the ability to buy a house. You are engaged to
be married. All is well with your world. Your fiancé has reminded you that,
traditionally, the first item to go through the door of your new house, is,
of course, a piano. So, it's off to the Piano Store, to select a suitable
piano for your new house. When you walk into the Piano Store, you are
greeted by the owner. You explain your situation to the owner and he guides
you to a beautiful Grand piano. The owner extols the many features of the
X&S Grand piano and invites you to try it. You only know a few songs, but
agree to give it a try. As you play, you don't really hear what you were
expecting and mention this to the owner. He thinks for a minute and then
guides you to a beautiful "Modern" Upright piano with beautiful carvings and
finish. Again, he invites you to try it out. Again, you don't hear what you
want in a piano. Again, you explain to the owner, that this piano doesn't
quite sound like what you were expecting. You add, "It really doesn't sound
like the piano that I learned on....., it doesn't sound like my Grandmothers
piano!" The owner raises his eyebrows a bit and then smiles. He leads you to
another beautiful piano, but it is different. It is rectangle in shape and
massive, with carved legs and a beautifully carved music desk. The owner
calls it a Square Grand. As you play your music, your thoughts are filled
with the wonderful times of your youth, with Grandmother at your elbow,
encouraging and coaxing. You finish the tune and state: "I'll take
it""Please deliver it to my home as soon as possible". The Owner smiles
broadly and sets upon the paper work for the purchase. All is well in your
world.
    Therein lies the reason for these instruments. Considering the basic law
of business, supply and demand, is the basic reason for Square Grands and
Bird-Cages. There was a basic demand for pianos that,.. "sounded like
Grandmother's Piano". Consider, that Grandmother's piano was a early 1800's
piano. Pianos of that period had not refined the technology of piano
building. And, especially the technology of dampers. Anyone who has
tuned/played on an early 1800's piano, will attest that the sound was "weak"
by todays standards. The touch was very "light" by todays standards. The
piano's damping system is not as efficient as modern counterparts. All these
things lead to the distinctive sound of the Square Grand and the Bird-Cage
pianos. In my opinion, the only difference between the early 1800's
instruments and the Square Grand/Bird-Cages is the sound volume. The later
is simply louder.
    The "Bird-Cage" piano was made by several Countries in Europe, but to my
knowlege, not in the United States. The French made weird versions, that
from my experience, were the worst of the worst of these type of
instruments. The Germans made them for only a few years. I suspect from
around 1870ish to 1880ish. They either didn't have the demand or simply, (in
true German style), dismissed the Bird-Cage as a poor "Design" and ceased to
make them. The English, on the other hand, made Bird-Cage pianos well into
the 1930s. (I am amazed that the entire British Isles didn't sink into the
North Atlantic by the sheer mass of Bird-Cages made!) In my opinion, the
English Bird-Cage piano was the "Ghetto Blaster" of the 19th Century. They
were, for the most part, cheaply made. The case was moderately ornate, but
not a well done as the "modern" Uprights and Grands, being made in the same
factories, at the same time.
     Basic construction was substandard by any standards. The Pin Block is
the worst part of the majority of these instruments. It was made by simply
butt-jointing blocks of dubious wood to the general dimension of a pinblock.
Then they glued a thin plank, (usually pine) to the back. On the front of
this "plank" they affixed a thin, (by standards of that day), cosmetic
veneer. Many times they used the cheaper "Fish" Glue rather than "Hide"
glue. "Fish" glue is almost as strong as Hide Glue, but is extremely
susceptible to moisture break-down. All this coupled to a back and case
assembly of pine that was sparsely braced, made for a light weight, (read
Weak), assembly. To off-set this flimsy setup, the string scale, (if you
could really call it that), was light tension. The only "up side", that I
can think of, for this piano, was that the tone was light and "airy", much
like the pianos of the early 19th Century.