Erard Grand Piano

[Clark A Sprague]

Bill,  I will try to go out and take some digital pictures of the piano,
and will see if I can figure out how to post them.  It may take awhile,
but I won't forget.  Thanks  Clark  
On Tue, 2 Oct 2001 23:03:25 EDT Bdshull@AOL.COM writes:
> 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  
>   >>
>