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Piano Bluthner équipé du système Aliquot (breveté en 1873): ajout d'une quatrième corde, non frappée par le marteau, qui résonne par sympathie en étant accordée à l'unisson et qui permet de développer des harmoniques colorées dans le medium aigu et l'aigu./ Piano Bluthner equipped Aliquot System(patented in 1873) Aliquot systems use an additional (hence fourth) string in each note of the top three piano octaves. This string is slightly higher than the other three strings so that it is not struck by the hammer. Whenever the hammer strikes the three conventional strings, the aliquot string vibrates sympathetically. Aliquot stringing broadens the vibrational energy throughout the instrument, and creates an unusually complex and colorful tone.
Cramer's Great Musical Depot.
My middle child has just started piano lessons, like me, my brother and sister when we were kids. So the old Blüthner is back in action. It's been in the family as long as I can remember and has survived all our bashings and dismantlings; a wonderful old friend is back in daily use. It has lived here Dublin, and in Stourbridge, West Midlands and was made in Lepizig, former East Germany. Funny thing about it is it has a very particular aroma of old wood and must. As a kid, I used to take the bottom panel off and yell at the strings with the sustain pedal down. We still do it thirty five years later.
I went on learn the bassoon.
My mother, Enid, responds with a bit more history ...
I just love these. Make me all sentimental. The photos are just beautiful. The piano must now be a museum piece but its special to me. I bought it with money from Grandpa Bell from an ad I'd seen in the paper. I looked at it in a house on the north side and when I played it I knew that it should belong to me.
It has had a lot of hard practise done on it over the years, and Liz (my sister) always says that because of it she really learned how to make a good tone. It wasn't the easiest to play but you had to work at it - and the dividends paid off.
What was really hard on it was when it was moved from Stourbridge back to this country. The movers didn't know where Dublin was and left it languishing in a warehouse in Belfast until it was traced - and this didnt do it any good .
Your photos are so good and your captions are often quite brilliant. Where did I get you ? !!
My sister, Liz, adds even more ...
Just to add to the history of this dear old friend which has been with me my entire life bar about the last five years, when it went to live with Hugh.
‘The Bluthner’, as it is generally called in the family, was bought in Dublin in the mid-fifties by our mother for £100; their house was bought at the same time for £2,200. You can do the math – but I reckon that it represents roughly 4.5% of the cost of the house. At today’s prices, the same house would be worth, give or take, €1,000,000 – can you imagine spending 4.5% of that on an upright piano nowadays? I didn’t when I went to replace it about five years ago and am now paying the price!
This piano travelled with me when I emigrated to the UK twice and returned to Ireland twice. It spent two years of its life in the late seventies in a house I shared in south London in the bedroom of a friend of mine, Tony Curtis, now a well known Irish poet.
On its second return to the UK (to Stourbridge in the West Midlands) in the early 80s, not only had it been diverted to a damp warehouse in Northern Ireland due to the (lack of) geographical skills of the removers, but it had become host to a family of moths which had been living on its felts in the said warehouse. It never really recovered from this in spite of the replacement of the felts, the addition of new pins, and the judicious placing of lavender and rosemary bags in its innards to ward off prospective families of moths.
It is hard to describe one’s attachment to an instrument which has been such a key part of one’s life, in which music plays such a key part. I have probably spent more hours in the company of this piano than with anything else, animal, vegetable or mineral. It was my principal source of income as a student when I gave piano lessons to reluctant students with enthusiastic parents; it has been the vehicle for the expression of many an emotion, both for me as a player and for me as audience to my two children’s music-making; it has provided the means of diversion when only concentration on learning a Bach fugue could expel other thoughts…
‘The Bluthner’ has now been replaced in our house by a new Boston upright piano, and although it has been in my family for five years now, it still seems an imposter, a sort of ‘step’ relation, not quite the real thing.
I hope Hugh’s children will love making music on this old piano. I am reconciled to the fact that, just like everything else in life, its days are numbered, its departure inevitable.
Museo Soumaya has a gallery of musical instruments and other early technology devices.
This magnificent piano joined Carlos Slims collection in 2002 and was purchased at Christie's auction house.
From 1957 it was part of French collections, and it is known that its first owner was the daughter of Prince Suleiman, Naciye Sultana (1898-1957), granddaughter of the last Turkish-Ottoman Emperor Abdulhamid II, who also had a Blüthner piano.
In 1924 the Ottoman ruling family was exiled and Naciye went to Paris. She was able to return to her homeland in 1939 and her instrument remained with her until a few years before her death in Turkey.
From the prestigious Julius Blüthner Pianoforte Company founded in 1854, this piano has the Aliquot system patent, a peculiar individual string anchoring system, which added four of them in the treble section, which gave rise to a sound more precise, dynamic, bright and crystal clear.
The English box is from the Maple & Co. workshops in London's Totenham Court Road. The decorations evoke the work of eighteenth-century ormolú (gilt bronze) and the neoclassical drawing of pilasters, medallions, urns and garlands.
The muses follow the models of Angelica Kauffman (1741-1807). The hands of Liszt, Rosenthal, Brahms, Jadason, Mahler, Moscheles, Nikisch, Rachmaninov, Schumann and Tchaikovsky played a Blüthner like this.
Title: Grand piano and stool that belonged to the Ottoman princess Naciye Sultana [1898-1957], granddaughter of the last autonomous Ottoman emperor Abdulhamid II [1842-1918]
Creator: Maple & Co., Ltd, Julius Blüthner & Co.
DateCreated: 1880
Physical Dimensions: Piano: 183.7 x 158.3 x 204.4 cm, Bench: 55 x 93.5 x 43 cm
Rights: Soumaya Museum, Carlos Slim Foundation
Art Genre: Applied Arts
A real Blüthner piano, what a sound... :D
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Explore # 310
I'm just playing around with my new Sigma 30 mm f/1.4 lens (god bless you santa)...
Info:
Exposure: 1/15 Sec.
Aperture: f/1.4
ISO-Speed: 200
Focal Length: 30mm
I have this piano for sale!
Davis, music composer (to my movies, too) is playing, with close piano, in 1996, after our High School Final Egzams)
Blüthner piano from about 1930-40, in good condition
contact me via Flickr mail
or at
newdemiurg@wp.pl
Mannheim. Europaplatz. Palazzo Bellissimo..
.
Bild: Christoph Blüthner (Bluethner). Es gelten die AGB auf www.bluethnerbilder.de
It was where I could go and play with the new Steinways, a bit over 40 years ago. So wanted a Steinway back then. Was offered a very large Bluthner (beautiful action) by someone who had been one of Ralph V Williams' students, later, my piano teacher wanted me to look after her new Steinway for a few years while she went back to the UK. I was between jobs in different states of Australia at those times though. Grr! Still, I'm blessed with a large Petrof now, which I love.
Pretty sure that this location is a new fangled shopping mall these days.
Julius Blüthner started making piano’s in Leipzig in November 1853 with three men and his piano’s got immediate acclaim in musical circles. So this advertisement from a Boston Symphony Orchestra programme dated 1896 is only 43 years after the companies founding.
Excellent engraving / Illustration.
Cele mai importante săli de vizitat sunt:
Holul de Onoare este grandios, cu lambriuri din lemn de nuc, tapetate cu basoreliefuri și statuete. Plafonul mobil din sticlă, acționat cu ajutorul unui motor electric sau printr-un sistem manual, era un element de surpriză pentru vizitatorii regelui, care puteau să admire seninul cerului în nopțile de vară. A fost finalizat complet abia în 1911, sub îndrumarea lui Karel Liman.
Biblioteca regală îi atrage în special pe cei pasionați de cărți rare, având coperți din piele și gravate cu litere de aur. Chiar și pentru cei mai putin familiarizați cu universul cărților, există un punct de atracție: ușa secretă, o cale de acces în spatele unui raft cu cărți, prin care regele se putea refugia în diverse încăperi ale Castelului.
Sălile de arme, amenajate în perioada anilor 1903 - 1906, adăpostesc peste 4000 de piese europene și orientale din secolele XIV - XVII. Cele mai prețioase sunt considerate armurile germane din secolele XVI - XVII și o armură completă pentru cal și cavaler, unică în România.
Sala de muzică a devenit salon de serate muzicale la dorința reginei Elisabeta. Mobilierul de aici a fost primit în dar de la maharajahul de Kapurtala.
Sala Florentină, denumită și Marele Salon, impresionează prin plafonul sculptat în lemn de tei, aurit, cele două mari candelabre și decorațiunile în stilul neorenașterii italiene.
Sala Maură este opera arhitectului Charles Lecompte du Nouy, având elemente hispano-maure, cu o fântână din marmură de Carrara, copie dupa o piesa din Cairo.
Sala de teatru are 60 de locuri și loja regală, fiind decorată în stilul Ludovic al XIV-lea.
La etajul I se află Sala de Concerte, amenajată în 1906, în care se găsesc un clavecin executat la Anvers în 1621, un pian cu coadă verticală Bluthner și o orgă Rieger cu două claviaturi.
Apartamentul Imperial a fost amenajat tot în 1906 cu ocazia vizitei împăratului Austro-Ungariei, Franz Josef I, invitat la aniversarea a 40 de ani de domnie ai regelui Carol I.
Alte săli sunt:
Sala de Consilii, care seamănă cu una dintre sălile Primăriei din Lucerna, Elveția.
Cabinetul de lucru unde se află un birou impunător și un pupitru pentru audiențe.
Sufrageria, unde sunt expuse piese de argint de o mare valoare, este situată la etajul 1 și are un mobilier rustic breton din secolul al XVIII-lea.
Salonul Turcesc care adăpostește o colecție de vase turcești și persane în alamă.
Dormitorul regal care este luminat de un candelabru din cristal de Boemia.
Vitraliile Castelului Peleș au fost cumpărate și montate între 1883 și 1914, cele mai multe fiind aduse din Elveția și Germania, piese datând din secolele XV și XVII. De asemenea, Castelul are șapte terase decorate cu statui din piatră, fântâni și vase ornamentale din marmură de Carrara.
După Castelul Bran, Peleșul este considerat al doilea muzeu din țară căutat de turiști. Numai în anul 2006 i-au trecut pragul peste 250.000 de vizitatori din țară dar și din SUA, Australia, Japonia și Noua Zeelandă. În primele șase luni din 2010, 80.000 de turiști au vizitat castelul Peleș[5]. Importanța Castelului este dată și de măsurile de securitate existente: pază militară, supraveghetori și camere video.
The Postcard
A postcard published by the Rapid Photo Printing Co. Ltd. of London. The image is a glossy real photograph, and the card was printed in England.
The card was posted in Clacton-on-Sea on Sunday the 1st. August 1909 to:
Miss Ethel Waring,
c/o Mrs. B. Holden,
Staverton,
Near Daventry,
Northamptonshire.
The pencilled message on the divided back of the card was as follows:
"Dear Ethel,
We received your card.
All safe.
You will see by the card
we are at Clacton-on-Sea
and are going to stay 'til
next Sunday.
The address where we
are staying is:
c/o Mrs. Garnham,
24 Dudley Road,
Clacton-on-Sea.
Write to me at this
address.
Ivy is paddling in the
water".
The Middlesex Hospital Convalescent Home
The Middlesex Hospital Convalescent Home in Holland Road was converted to military use immediately after the declaration of war in 1914.
During the Great War, the hospital treated a total of 9,242 wounded and sick soldiers, including 4,622 cases of gunshot wounds, 415 cases of trench foot, and 110 cases of shell shock.
Clacton-on-Sea
Clacton-on-Sea is the largest town in the Tendring peninsula in Essex, England, and was founded as an urban district in the year 1871. It is a seaside resort that saw a peak of tourists in the summer months between the 1950's and the 1970's.
The town's economy continues to rely significantly on entertainment and day-trip facilities, and it is strong in the service sector, with a large retired population.
In 1936, Billy Butlin bought and refurbished the West Clacton Estate, an amusement park to the west of the town. He opened a new amusement park on the site in 1937, and then, a year later on the 11th. June 1938, opened the second of his holiday camps.
This location remained open until 1983 when, due to changing holiday tastes, Butlins decided to close the facility. It was then purchased by former managers of the camp who reopened it as a short-lived theme park, called Atlas Park. The land was then sold and redeveloped with housing.
The Semana Tragica
So what else happened on the day that the card was posted?
Well, on the 1st. August 1909, the 'Semana Tragica' or 'Tragic Week' ended as the Spanish government restored order in Barcelona and other areas of Catalonia.
In seven days that began on the 26th. July with anti-war protests and a strike in Barcelona, hundreds of people were killed in fighting.
Jane Carr
The day also marked the birth in Whitley Bay Northumberland of the English stage and film actress Jane Carr.
She was born Dorothy Henrietta Brunstrom and educated at Harrogate Ladies College. Her first husband was James Bickley, a civil engineer, the eldest son of a farmer and wheelwright, to whom she was married on the 14th. September 1931 at the Register Office, Marylebone, London.
According to The Times dated 2nd. December 1936, Jane was engaged to Major A. J. S. Fetherstonhaugh, D.S.O., M.C., the only son of Colonel and Mrs. Fetherstonhaugh of The Hermitage, Powick, Worcester. However she subsequently married John Donaldson-Hudson, the grandson of Charles Donaldson-Hudson, from Cheswardine Hall, Shropshire on the 7th. January 1943 at the Registry Office, Westminster.
John Donaldson-Hudson was one of the partners in John Logie Baird Ltd., and Jane Carr's face appeared as one of the first images to be shown as a BBC television image on the 15th. November 1932, using apparatus designed by John Logie Baird.
Carr began to work in the theatre in 1928, and in September 1932 she joined Harry S. Pepper, Stanley Holloway, Doris Arnold, Joe Morley, and C. Denier Warren to revive the White Coons Concert Party show of the Edwardian era for BBC Radio.
She went on to appear in one of the earliest BBC television broadcasts on 15 November 1932, and was cast in a number of films through the 1930's, 1940's and early 1950's. One of her early films, The Triumph of Sherlock Holmes (1935) is available on the Internet.
Before divorcing from John Donaldson-Hudson, Jane and John had a daughter, Charlotte Donaldson-Hudson, who relates the details of Noël Coward visiting her mother's flat in London at about the time of the preparations for the Festival of Britain in 1950. She said:
"Noel Coward was a frequent visitor to
our flat in South Audley Street, Mayfair,
where my mother, a well known actress
at the time, Jane Carr lived.
We had two Bluthner grand pianos in
our drawing room. Noel wrote the song
'Festival of Britain' there, and my mother,
who at the time was a pianist and singer
at Quaglino's and The Savoy, sang it
regularly.
It may have been frivolous, but it was in
my opinion immensely amusing, starting
with a stanza I can't quite entirely
remember. I only learnt it sitting on his
knee 60 years ago!"
In the Spring of 1955 Jane Carr married Henry J. Robert Stent, the managing director of Trust House hotels.
The Death of Jane Carr
Less than two months after her 48th. birthday, Jane died of cancer on the 29th. September 1958 at London's Middlesex Hospital, and is buried in an unmarked grave at Mendham, Suffolk.
Notable Films of Jane Carr
Let Me Explain, Dear (1932)
Love Me, Love My Dog (1932)
Up for the Derby (1933)
Keep It Quiet (1933)
Orders Is Orders (1933)
Dick Turpin (1933)
Taxi to Paradise (1933)
Those Were the Days (1934)
On the Air (1934)
The Outcast (1934)
Intermezzo (1934)
Murder at the Inn (1934)
Oh No Doctor! (1934)
The Night Club Queen (1934)
The Church Mouse (1934)
Lord Edgware Dies (1934)
Youthful Folly (1934)
Keep It Quiet (1934)
The Lad (1935)
The Ace of Spades (1935)
Get Off My Foot (1935)
Annie, Leave the Room! (1935)
The Triumph of Sherlock Holmes (1935)
Night Mail (1935)
Hello, Sweetheart (1935)
The Interrupted Honeymoon (1936)
It's You I Want (1936)
Millions (1936)
Little Miss Somebody (1937)
The Lilac Domino (1937)
Captain's Orders (1937)
Melody and Romance (1937)
The Seventh Survivor (1941)
Alibi (1942)
Sabotage at Sea (1942)
Lady from Lisbon (1942)
It's Not Cricket (1949)
A Night with the Stars (1950)
Stop the Merry-Go-Round (1952)
The Saint's Return (1953)
Terror Street (1953)
Best viewed large: The woman was playing the piano while the world moved on about her. You could hear the notes through the window play harmoniously along with the rainy day. She was in one world alone within a bigger one.
Ref 1706: A Bluthner baby grand piano with a fiddleback mahogany case. Photo taken by Sophie Pitcher at Besbrode Pianos Leeds.
C. Bechstein piano factory was founded on 1 October 1853 by Carl Bechstein in Berlin, Germany.
Carl Bechstein set out to manufacture a piano able to withstand the great demands imposed on the instrument by the virtuosi of the time, such as Franz Liszt. In 1857, Hans von Bülow (Liszt's son-in-law) gave the first public performance on a Bechstein grand piano by performing Liszt's Piano Sonata in B minor in Berlin.
By 1870, with endorsements from Franz Liszt and Hans von Bülow, Bechstein pianos had become a staple in many concert halls and private mansions. By that time three piano makers, all of which were founded in 1853, became established as the industry leaders across the world: Bechstein, Blüthner and Steinway & Sons.
In 1881 Bechstein began supplying pianos to Queen Victoria. A gilded art-case piano was delivered to Buckingham Palace, followed by several more Bechstein pianos to Windsor Castle and other royal residences. not in citation given] By January 1886 they were among the piano manufacturers holding a Royal Warrant as a supplier to the Queen. Several British embassies across the world acquired Bechstein pianos.
In 1885, Bechstein opened a branch in London, that eventually grew to become the largest showroom and dealership in Europe.[citation needed] By 1890 showrooms had been opened in Paris, Vienna, and Saint Petersburg. On 31 May, 1901, Bechstein Hall, built at a cost of £100,000, was opened next to the company's London showroom at 36-40 Wigmore Street. Between 1901 and 1914, C. Bechstein was the largest piano dealership in London. At that time, Bechstein was patronized by the tsars of Russia, the royal families of Spain, Belgium, the Netherlands, Italy, Sweden, Norway, Austria and Denmark, and other royalty and aristocracy.[4] The list of royal clients of Bechstein may be found on the soundboard of vintage Bechstein pianos made before the Second World War. The list is part of the original Bechstein trademark logo; it can be seen under the strings in the center of a piano's soundboard.
The signature of Carl Bechstein
The years from the 1870s through 1914 brought Bechstein their most dramatic increase in sales. In 1880 a second Bechstein factory was opened in Berlin,[5] and the third factory was opened in 1897 in Berlin-Kreuzberg.[10] Production reached 3700 pianos annually in 1900, and 4600 in 1910, making Bechstein the largest German manufacturer of high-end pianos.[11] At that time, about three quarters of production went to international markets, especially Britain and the Commonwealth, and Russia.[citation needed]
Carl Bechstein died in 1900, and the Bechstein company continued to operate under the management of his sons.
Bechstein Art Nouveau grand piano, 1902
Between 1900 and 1914 C. Bechstein was one of the leading piano makers in the world, employing 1200 craftsmen and workers by 1913 and making five thousand pianos per year.[12]
A 1954 advertisement for Bluthner Pianos.
Julius Blüthner started making piano’s in Leipzig in November 1853 with three men and his piano’s got immediate acclaim in musical circles. So this advertisement from a Boston Symphony Orchestra programme dated 1896 is only 43 years after the companies founding.