Beethoven's Broadwood piano

[Quijote]

I recently posted a link to an article about Beethoven's Broadwood piano on the Beethoven Conversation Books thread started by forum member Fidelio*.

I think the Broadwood is a topic that deserves its own thread, not least because Beethoven's last 3 piano sonatas were worked out on it and that this piano had an impact on their conception due to the range of octaves available.

So here (again) is the link to the article written in 2012 by Tilman SKOWRONECK, A Brit in Vienna: Beethoven’s Broadwood Piano, that gives fascinating details and anecdotes about it.

Two anecdotes of interest as a taster: Friedrick Wiek (Clara Schumann's father) witnessed Beethoven improvising on it (read what he thought about that in the article!), and second, Ignaz Moscheles borrowed it for a concert in late 1823 (read why that cheesed off Beethoven in the article!).

Anyway, I hope you enjoy it as much as I did and I hope it might lead to a discussion among us.

https://ecommons.cornell.edu/bitstre...=2&isAllowed=y

[Chris]

Thanks, Qujote, I will dig into that. I have always liked the recorded sound of this instrument, so much different from the Graf fortepianos. Better or better suited to Beethoven's music? I'm not sure, but it helped ease me into listening to fortepiano recordings, having only heard recordings on modern pianos before.

[Peter]

Interesting article which I've only had time to glance at briefly. I personally doubt that Wieck actually heard Beethoven improvise on this piano - he may have tried it out himself, but we know Beethoven was reluctant to perform on demand even when at his best and his playing had naturally deteriorated by this time.

Some further information about the Broadwood -
Description: 6 octave grand pianoforte, approximately 76" long. Case of Spanish mahogany, inlaid with marquetry and ormolu. Triple stringed throughout. Two pedals: the left is soft; the right is divided in two: the right to dampen the treble and the left the bass. Brass carrying-handles formed as laurel wreaths. On the right above the tuning plank: The signatures of a committee of five noted pianists in London who selected the piano and wished to be associated With the gesture. They were: Kalkbrenner. Ferrari. J B. Cramer. Knyvett. Ries (Ferdinand Ries. a former pupil of Beethoven's and his agent in London. His brother was Thomas Broadwood's clerk).

Inscriptions: Label on nameboard reading: "John Broadwood & Sons, Makers to His Majesty and the Princesses. Great Pulteney Street. Golden Square. London"
Additional inlaid inscriptions: Beethoven's name on front, and : 'Hoc instrunentum est Thomae Broadwood Londini donum propter Ingenium illustrissimi Beethoven"

The Journey: By sea to Trieste, then by horse and cart overland to Vienna. In Trieste the customs demanded duty on it. Beethoven's patrons used their influence to obtain exemption, an account of which appeared in the Vienna Gazette of the Arts. Once In Vienna it would have been the only English piano in Austria at the time, because the Viennese pianos enjoyed a state monopoly.