konzerte04-pressemappe.pdf - Berliner Festspiele

obtained in England on the 5th January a patent number 5065 for fi xing iron bars to the wooden braces
by means of bolts, passing through holes in the soundboard, which is still the method used for
fi xing the iron frame. Controversy was to arise between Erard and Broadwood as to who fi rst came
up with the idea. Also in this submission were improvements to the wrest plank (or tuning pin block)
and action. Rarely did piano makers submit just one patent on a submission, probably because of the
cost involved. In 1875 it was £0. 1s. 6d. Erard, unlike Brinsmead, produced full-sized scale drawings
with his patents.
Stodart, on the 10 May 1851, sent a letter to The Times promoting their patent of 1820 for metal
‚compensation‘ frames composed of plates and tubular braces. This was to increase stability during
changes in humidity. The tension of the brass strings was borne by brass tubes and that of the iron
strings by iron tubes. Stodart fi tted his bars to most of his pianos, and Pierre Erard obtained a related
French patent in 1822, but made few instruments with this device. Stodart‘s successful use of it was
due mostly to the greater strength of his tubular bars. Stodart abandoned this by 1860.
Because of the revolution the organ at the Tuilleries in France was destroyed, and in 1830 Sebastian
Erard was appointed to restore it, but he was unable to complete the restoration, as he died in
August 1831. In 1835 Pierre Erard was petitioning the Privy Council, claiming that in England „certain
unfounded notions were circulated to their disadvantage.“ During the court of inquiry he claimed that
Erard‘s pianos „had a great deal more strength and power than any other instrument and great effect
in accompanying the voice.“
Three years later Pierre used a metal bridge with holes through which the upper strings passed. In
1839 trouble arose when Erard discovered Broadwood making pianos with studs, which was Erard‘s
invention of 1808. At the exhibition of 1851 the Gold Medal went to Erard. Four years later Erard, with
425 men, turned out 1500 pianos. Their London branch stopped trading in Great Portland Street in
1890, but a hall bearing the fi rm‘s name survived until modern times. From 1903 to 1953 the fi rm
traded as Blondelet Cie. In 1960 Erard merged with Gaveau. The two great French fi rms of Erard and
Pleyel amalgamated in 1961. Yet, just years earlier, Erard and Pleyel were trying to outdo each other
with a duel of the harps, much to the delight of the concert-going public of the day. Pleyel commissioned
Debussy and Erard commissioned Ravel. Sadly, it seems they were wound up in 1971. In late
1971 the name Erard was taken over by the West German maker Schimmel.
Barrie Heaton © copyright 1998-2002.