The acclaimed Sigal Music Museum is located at the Heritage Green cultural campus in downtown Greenville, SC. The museum is home to one of the largest collections of significant historical instruments in the world. This world-class collection features period instruments crafted by some of the most iconic makers of the past 400 years! Our mission is to collect and preserve historical instruments which engage and enrich people of all ages through exhibits, performances, and experiential programs.
Are there any other early American made pianos or British or Portuguese made around that time that exist in original condition with which you can compare sound quality?
Wow! what an amazing story. Pretty cool you got it playing. Did Mr.Belt save the original SB? If so -- where is it???? We pay close attention to presentations like this one. What kind of wood was used for that original SB? Thank you for your efforts. I have too many questions to ask. Were there any original hammers left from 1776!!!
I came across this video showing incredible knowledge. I have my great grandmother’s Steinway upright piano she purchased in 1879 from Chicago. I have the original handwritten receipt. Craftsmen signed it in many places inside. Can you help me understand its importance level and a direction I could donate it for restoration or museum use. I no longer play. Not trying to make money on it. I did some very amateur restoration in the 1970s, but kept all the parts I replaced (primarily a set of springs originally installed that made the action amazingly feather light. Any response would be greatly appreciated. Thank you. jeffpurvis@juno.com.
It has a sweet tone, certainly suitable for the little old air, the Ash Grove. Interesting story, and an amazing survival. An important part of US musical history and a sad end to its maker.
WOW, that was BRILLIANT ! Your channel happened to appear in my inbox by chance, now I'm a sub. What a fantastic find, and your lesson into its history is fascinating. I'm sure your Museum is a wonderful place, but being an aged man in England, I don't suppose I will ever get the opportunity to visit. Thank you for sharing this beautiful instrument with us - I will now have to investigate your channel further. Thanks again - take care 🙂
There was a fabulous collection of keyboard instruments you might have visited called “Finchcocks” (near Goudhurst in Kent) owned and curated by Adlam Burnett. Reproduction keyboard instruments were also made there. Derek Adlam, (the Royce in partnership with, the Rolls being the fine player Richard Burnett) whose recordings are currently on U-tube, was previously the curator of the Colt Collection (near Bethersden in Kent) of early keyboard instruments. Perhaps you have visited these in their day. Sadly I know for certain that “Finchcocks” has been disbanded. I’m uncertain of the fate of the Colt Collection. Both were extraordinary in their day and in England. I wish You luck. RAHG
About 100 years in an attic, partially restored, then restoration completed, sounding extrordinary today. Thank you for sharing this wonderful survivor.😊😊😊
How many notes and strings in this instrument and does it have tensioning elements to hold the structural integrity? Does it ressemble elements from Broadwood, Erards or Pleyels of that period?
Wonderful I have in my care one of Peter Redstone's copies of the Americus Backers fortepiano of 1772 he made for Wm and Mary College. A few years ago the original Backers in England was "restored". It got quite a few write ups and some short videos at the time. I'm sure that is the one you played. It was a real adventure for me to acquire the Redstone copy, as prior to that I only knew the Viennese fortepianos, which are very different. Most of what we see in early English forte pianos was at least inspired by Backers original. Basically they stole their designs from him and added "improvements". The Backers is double strung. We're keeping it at A-428 to hopefully prevent it from twisting as your Berent has done. Thanks for putting this up, it made my day!
I would like to know how the sound of this piano differs from a modern baby grand, which would seem to be its closest relative. And then there is the question: which is better, old or modern?
Dear @scottshepard345 @GrotarianSeller is absolutely right. Which is better is a matter of choice. The fact is that many modern instruments have altered from the original instruments that were current when historic composers were alive, and that their contemporary audiences would have been used to hearing. This is largely because concert halls are larger and so are orchestras. Volume is needed to carry throughout large venues (not to mention the acoustic deadening of more people in the audience). The stringed instruments have achieved this by being altered extensively, structurally, from original instruments with heavier strings (and changing strings being made from gut to steel strings in the case of bowed instruments. In the case of plucked stringed instruments changing them from gut to nylon). Modern pianos have steel “skeletons” to take the increased string tension and I am pretty sure that there are no quality violins which are as the original maker built them. They have been dismantled and given heavier bass bars and sound posts as well as being renecked at a steeper angle because they have been refitted with taller bridges. With instruments of extreme monetary value returning them to original design (if we know for certain what that is), known as rebaroquing, is considered out of the question regards “investment value”. Hence the demand by early music performers for reproduction instruments built to “original “ specifications. There are some historic instruments, particularly keyboards, restored to playing condition. These are valuable insights into originality. It’s a fascinating subject and if you’re interested and want to know more do read publications such as the Galpin Society journal and Early Music magazine. As for which is better? The Early Music Movement started, to my knowledge, as part of the Arts and Crafts Movement. Here in England we had Arnold Dolmetch (everyone in England is familiar with the Dolmetch plastic school recorder). He himself came from the continent (Germany or Switzerland, I forget). Arnold Dolmetch was indeed contemporary with William Morris; the leading light of the Arts and Crafts Movement, though Dolmetch was a little bit younger. The whole effort was a reaction to the overwhelming and dehumanising effects of the changes to society wrought by the industrial revolution. In music, as venues became larger and orchestras grew in number, similarly there is a school of thought that the increased power and volume of modern music was equally overwhelming and that the intimacy of music as performed at the time it was originally composed, and as audiences were then used to listening to it, was destroyed. Put simply its about “less is more “. I strongly recommend that you decide what you yourself prefer, starting with Utube, by comparing performances on modern instruments, of now historic composers, with performances by Early Music musicians on “authentic “ instruments. Thereafter graduate to going to live concert performances (if they are available to you locally)of both and get involved in the great debate as to what is truly authentic! Opinions vary and some compromises have to be made. Avoid the ultra puritanical Early Music aficionados who even decry the Romantic Era let alone Stravinsky! I rather enjoy Mendelssohn and Schubert and Stravinsky’s Rite of Spring wouldn’t sound much on “Authentic Instruments”; perish the thought! Do you know my wife was a Punk in her youth and took me to a Strangler’s concert recently! Quite an experience. Peaches was great and I did actually enjoy myself. Mind you, next time she takes me to a rock concert I’m taking ear defenders! Another reason to compromise is that musicians have to play to large audiences in order to make a living. As for gut strings; well yes they are beautiful………so long as they are in tune, which in my experience isn’t very long. I once went to a concert on a gut strung instrument and found the continuous tuning (between every piece and even during the piece) tedious to the point of being maddening! Play the field, but most of all music is to be enjoyed. Find your own passion. Have fun, RAHG 🎉❤
CF Martin learned that he had to be part of a violin guild in Germany to make guitars. Rather than deal with that, he moved to America and started Martin Guitars in 1833. I had not realized the piano makers had the same issue
What fascinating stories. Martin is in Lititz, Pa and David Tannenberg made organs at Lititz. The tune played at the beginning is The Ash Grove, a traditional tune from Wales. Very fitting!
I've been to this museum several times, and nothing is ever in tune. Plus, the guy only knows one piece to play and demonstrate. The Queen Charlotte Kirkman had such a hard action and was poorly regulated.
Eye and Ear opening lecture/performance. Mr. Spears is one of those musicians who overflows with creativity, information & inspiration! Thank you for the great presentation.
Thank you for uploading. I am a researcher/player of this kind of instruments. I would like to point out that this "Apollo-lyre" is tuned to an open chord such as AC♯EAC♯E, CEGCEG (not like normal guitar).