poetic and emotional

rapture,

it was usually the strings,

thickness

and many concerts ended with wrecked pianos. In fact

rather than the action, that presented

(and thus their strength)

framework

of the instrument

was constrained

could suppOrt

the problem:

by the limited

without

warping.

their

tension that the

Thicker,

stronger

strings could be used, but to reach the same pitches as thinner strings they had to be
put under higher tension, and that meant building
Manufacturers

belly rail to which the hitch-pin

could bend under pressure.
running

and fixed to the hitch-pin

owing

withstanding
hammers

the number

of more

forces. With

mid-19th

(originally

of braces was

efficient

the increase

fixings

capable

of

in string

tension,

larger

advances paving the way for the modern grand piano in

century,

patented

The musical

with

the

by Chickering)

consequences

introduction

of the

and the development

of these developments

full-iron

frame

of oversrringing.

were enormous.

The increased

dynamic range over a much wider compass, along with the sustaining

pedal, allowed

romantic

composer-performers

unprecedented
fireworks

previously

of Romantic

many believed
often
ability

extravaganrly

and sensual

the

exiled

Polish

the hearts of audiences

haunting

sensuality

a violinist

1808 for Louis, King of the Netherlands, who was

Napoleon Bonaparte's brother. Today it is stil l
owned by the Dutch royal family.

whom

Liszr encouraged
individual.

the piano's
images

the

He would
people's
unique

of Romantic

co note that Chopin,

composer-virtuoso

the tonal

It is interesting

with some other performers

subtlety

of Pleyel

and

still felt by many to

soul of the instrument.

together

Chopin

with the soulful melancholy

of his piano compositions,

the innermost

day, preferred

the

(above) was made by the Erard Brothers in Paris in

its rich variety of textures.

captured
encapsulate

talented

he exploited

the complex

through

Meanwhile,

Paganini,

on his own and other

Like Schumann,

to evoke

literature

became

Erard grand piano

Another opulent instrument, this grand piano

and dazzling virtuosity.

to be the devil in disguise,

improvise

The piano

technical

soirees, in which the great names of the day would entrance

to see him as a demonically

compositions.

and Liszt to explore an

as well as performing

have been unthinkable.

Like the lean and other-worldly

public

Schumann

variety of new moods and textures,

that would

centrepiece

such as Chopin,

audiences with their displays of emotion

---

and Erard both lay

and more robust actions became feasible. Steinway would achieve

the other important

the

Eventually

to the advent

greater

was to attach iron braces

on the same plane as the strings,

plate. Broadwood

claim to this development.

the pin block and the

plate is itself fixed, but even these

The solution

above the soundboard,

reduced,

a stronger framework.

began to use iron spacers between

instruments

of the
to the
Erard's agraffe
An important innovation made by the Parisian
Erard company was the agraffe, pictured above in
early, simple form on a piano of 1818. Strings are
threaded through the device, which prevents them
moving when struck. It improved che piano's
tuning stabiliry and enhanced its rone.

Erard endorsements
Erard made the most technically advanced pianos
of the time and had factories in London as well as
Paris. The company's instruments arrracted leading
composers

and musicians; this particular piano

(lefc) was played by Mendelssohn and Liszt,

13