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Mr. Souffert also informs us that Mr. Charles Hallé will use only the Bechstein grands during his approaching tour with Madame Norman-Néruda." Music Trades Review, 15/04/1880, p. 15
1881 BECHSTEIN'S IMPORTANT DISCOVERY IN POTSDAM
The search was not an elaborate one, but Herr Bechstein found the music room of Frederick the Great in practically the same state as that in which it was left at the king's death. He likewise made the important discovery that the Silbermann piano-forte there had an action similar to the original action of Christofori. The discovery was important, for it finally disposed of the ridiculous theory current in Germany a century or more ago that Gottfried Silbermann was the inventor of the piano-forte. Even more recently Silbermann was supposed to have derived his ideas of piano-forte manufacture from Schröter, and it was not until Herr Bechstein made an accurate drawing of the Silbermann action, the discovery was made that Silbermann really used the Christofori action. This very piano was the instrument which the great Bach was induced by the king to try when he visited the monarch in the new palace at Potsdam, and upon which he extemporized." Amercican Art Journal, 17/09/1881, p. 413
a new factory at Berlin
Mr. Azthur is step-brother Mr. Bechstein
An extra-sized grand piano
The case is a genuine work of art. It is in solid blackwood, carved by hand in the most elaborate fashion on the lid, sides, fall, legs, and even on the support. As a piece of solid and massive cabinet work this piano is well worth seeing." Musical Courier, New York, 10/12/1881, p. 327
1883
The pianos of Herr C. Bechstein, of Berlin, have attained a considerable amount of celebrity, and, despite the fact that the firm is comparatively a new one, the praises officially given about their instruments by Wagner, Liszt, Rubinstein, Von Bülow, Tausig, and others have contributed to their popularity. Herr Bechstein, who is a native of Gotha, established his factory in Berlin in 1855. He was a progressive maker, and before many other German makers distinguished the popularity which iron framing was likely to have. His action is said to be based upon the so-called "English action," but he claims many notable improvements. He at a very early period adopted the "check" action, and the latest improvements in pianoforte making have always received sympathetic attention. Some years ago Herr Bechstein established an agency at St. Petersburg, and in 1880 he opened a branch house in London, under the management of Herr Agthe, his stepbrother, who, by his ability and tact, has succeeded in largely extending and developing the business. Herr Agthe has travelled in the United States, and has acquired here a wide experience of trade and professional matters. Two or three years ago he achieved a veritable coup de main by inducing M. Rubinstein and Madame Sophie Menter (then in the zenith of her remarkable popularity) to give an invitation recital on the Bechstein piano at Willis's Rooms. Since then Herr Bechstein has sent over a remarkable piano, which was acquired by Her Majesty the Queen as a present to the Duchess of Edinburgh; and he likewise manufactured the art piano given to the Crown Prince and Princess of Germany on the occasion of their silver wedding. Herr Bechstein has manufactured, by order, pianos for most of the crowned heads of Europe, and has been the recipient of numerous honours and decorations from foreign courts. He has also gained many first-class medals at various exhibitions." Music Trades Review, 15/05/1883, p. 21
This is a magnificent grand piano, by Bechstein, of Berlin, the case being executed in Louis Quinze style, with white panels and ornamental carved work of figures and flowers. On the inside of the lid is painted the gala equipage, drawn by three pair of horses in gorgeous trappings, in which they made their public entry into Berlin; and the panels contain paintings of Balmoral, Windsor, the New Palace, Potsdam, scenes from the Riviera, and other places intimately associated with their wedded life." Music Trades Review, 15/02/1883, p. 13
1886
1890
BECHSTEIN Schutz Marke,
Academy Architecture and Annual Architectural Review, Volume 2, 1890, p. 11
Mr. C. Bechstein's New Show Rooms.
Descending to the basement, we found that half the space is devoted to the storage of empty cases, the remaining space being utilized for instruments yet unpacked. A tram line is laid down in the centre of the floor, in order to help transportation. In a sub-basement is located the boiler, from which the hot water pipes, which are in every room, obtain their heat. The depth of the building is three hundred feet, the back entrance being in Little Welbeck Street, and here is a novel mode for lifting the pianos from the packing room in the basement right into the railway vans. This arrangement is the invention of Mr. Lindlar. We now ascend to the ground floor (which is fitted up in most beautiful style), and proceed to the next floor, going through, en route, the polishers' room, where the workmen are putting on the finishing touches with their bare hands. Here, upon the first floor are stocked grands and uprights of the firm's highest and most expensive kind, including an instrument in satin wood, ornamented with rich | marqueterie. We notice that all the pianofortes are seven and a third octaves. The rooms are fitted up in a style regardless of expense, with speaking tubes and electric bells placed where required. There are also about forty Wenham lights distributed over the rooms; and here, on the floor on which we are conversing, is a stained glass window, conspicuous on which are the arms of the German emperor, the English royal arms, and the arms of Berlin and of London. In this room, too, is a restored Jacobean fire rebuilding, and it will be doubtless used when colder weather arrives. We now go through the repairing room, in which are fixed twelve benches ("made in Germany"), a covering machine, &c.; and here it might be as well to state that Mr. Bechstein has his own repairers upon the premises, solely for the doing up of pianofortes of his own make only.
These repairs are executed only for the proprietor's customers. Another fact
we should like to state, -viz., that it is the intention of the principal to
stock pianos of his own manufacture only, and not to burden himself with
second hand instruments of his own or of any other manufacture. We might state that these little instruments consist of four octaves (built, we believe, to be maintained at French pitch), the shape of the case being made like a conductor's desk, the bass strings, therefore, having a length of eight feet. These pianofortes have been manufactured to the order of Dr. Von Bülow during a period of twenty years. Some amealso for professor Mr. D'Oyly Carte's new Savoy Theatre. Whilst walking over the rooms, we remark as to the polished parquet oak flooring prevailing everywhere; and we are informed that the cost for this item alone will be a thousand pounds. Altogether, it would be difficult to imagine a more handsome show room in London. Of course, fire hydrants have not been forgotten, there being three depôts, each with one hundred and fifty feet of hose attached thereto. In order to facilitate the removal of the instruments, one of Mr. Thomas Potter's automatic hydraulic lifts runs from top to bottom of the building. We might state that Mr. Bechstein first introduced his pianofortes to England in the year 1862, by having a show at the exhibition of that year. Eight years afterwards he opened a shop in Rathbone Place, subsequently occupying the show rooms at Oxford Street.
And now, we imagine that the proprietor need not trouble about further
removals, inasmuch as he has at present enough floorage for a vast number of
pianos; in fact, the manager assured us that (allowing for instruments
generally in dock) there will be in stock and at hand a thousand
pianofortes, grands and uprights.
with carvings the chief figures of Wagner's operas »
This magnificent instrument, says the L. and P. Music Trades Review, is ordered as a wedding present for His Serene Highness, the hereditary Prince of Anhalt-Dessau. It is one of the largest sized grands that Mr. Bechstein constructs, and is in a case which is as artistic as original. It is in rococo style (period, Louis Quatorze), with elaborate carvings and paintings, designed and executed by Profs. A. Schulz and Max Koch, of the Berlin Academy. The leading idea has been to represent by carvings the chief figures of Wagner's operas. Thus the end of the pianoforte, in lieu of the conventional feet, will be supported by three Rhine daughters (from "Rheingold"), who point to a medallion of Wagner's portrait. The keyboard of the instrument will be supported by legs with carvings to represent "The Flying Dutchman," "Rienzi," "Tannhäuser," "Rheingold" and "Gotterdämmerung." The supports and feet of the piano-forte are connected together by a very artistic arrangement of carvings. The lid of the grand shows the two coats of the npble bride and bridegroom, also designed by Prof. Koch; and a special cover is being embroied for the instrument after a most elaborate design. The price will be about 1,500 l. This piano will be exhibited at the museum in Berlin, when it will no doebt attract the same attention as the pianoforte which Mr. Bechstein made for the late Emperor Frederick." Watson's Weekly Art Journal, Volume 56, 20/12/1890, p. 159
1891 FALSE TRADE NAME ON PIANOFORTE.
The evidence previously given showed that Messrs. Tooth published a catalogue of a piano by 'C. H. Bachstein.' Mr. Berridge saw the piano, and found on the fall the words 'C. H. Bachstein, Hof Pianoforte Fabrik' (Court Piano Factory). As Mr. Bechstein claimed to be piano manufacturer to the German court, he considered that the public might be led by those words to believe that the piano was made at his factory in Berlin. -Messrs. Tooth, in defence, declared that they merely had the piano sent to them to sell in the ordinary way, and that they had no desire to do injury to any firm. Moreover, it was mentioned that, directly Mr. Bechstein made complaint, Messrs. Tooth withdrew the piano from the sale. -Mr. Anthony Tooth now deposed that he received the piano complained of from Mr. Walter Watson, of Euston Road. The catalogues were made up by his clerks, who could only take the descriptions from the goods as they found them. - Evidence was then taken in support of another summons respecting a piano bearing the name of Schiedmayer which, it was alleged, had not been manufactured by the firm of that name. George Culverwell, manager to Messrs. Cramer, said he had seen a piano which was entered in one of Messrs. Tooth & Tooth's catalogues. It was marked 'Schiedmayer, Berlin,' but he recognised it as an instrument made by Rosenaar, of Berlin, which Messrs. Cramer had let to a woman on the hire system. At that time the name 'Rosenaar' was on the fall.-Archibald Ramsden, the English representative of Schiedmayer, of Stuttgart, said he knew of no firm of piano manufacturers of the name of Schiedmayer in Berlin. - Mr. Anthony Tooth deposed that a lady brought him the piano in question to sell, saying that she had brought it from Berlin. After he had sold it Messrs. Cramer claimed the instrument as their property. He had seen the police about the woman, and had discovered that there were several warrants out for her arrest. - A third summons was heard against Walter Watson, an auctioneer, of the Euston Road, for a similar offence. Mr. Leslie, solicitor, appeared for the defence. - George Taylor, who had been for about six months in the employ of Mr. Watson, said that he had seen pianos arrive at the premises of Mr. Watson from Hamburg without names. They were marked with different names before being sent out. On April 29 two pianos were delivered at the premises of Messrs. Tooth. - Mr. Watson said that he had been carrying on business as an auctioneer in the Euston Road for about nine months. He had dealt with a pianoforte dealer named Kreuse, of Hamburg, for three years. He received the particular piano bearing the name of Bachstein' in February last in the same state as it was at present. He had bought several 'Bachstein' pianos from different dealers in Germany, and had not heard of Mr. Bechstein until lately. Cross-examined. A writ had been served upon him with respect to another make of pianos. He had had Winkelmann's pianos with the name-plate separate. - Emil Pohl, a porter to Mr. Watson, said that the piano in question was now in precisely the same state as when he unpacked it on its arrival from Germany. He had sometimes stuck labels on pianos that had no name on them. The labels were sent over from Hamburg with the instruments. -- Mr. Newton said that he thought Messrs. Tooth & Tooth had acted negligently. They would have to pay 10l., with five guineas costs, and Watson must also pay the same amounts. It was stated on behalf of Messrs. Tooth that they intended to appeal. Mr. Besley and Mr. Bodkin prosecuted, and Mr. Banks appeared for the defence." The Law Journal, Volume 26, 30/05/1891, p. 372
Mr. Berridge saw the piano, and found on the fall the words "C. H. Bechstein, Hof Pianoforte Fabrik" (Court Piano Factory). As Mr. Bechstein claimed to be piano manufacturer to the German Court, he considered that the public might be led by those words to believe that the piano was made at his factory in Berlin. Messrs. Tooth, in defence, declared that they merely had the piano sent to them to sell in the ordinary way, and that they had no desire to do injury to any firm. Mr. Anthony Tooth deposed that he received the piano complained of from Mr. Walter Watson, of Euston Road. The catalogues were made up by his clerks, who could only take the descriptions from the goods as they found them. Evidence was then taken ir support of another summons respecting a piano bearing the name of Schiedmayer which, it was alléged, had not been manufactured by the firm of that name, an instrument made by Rosenaar, of Berlin, and which Messrs. Cramer had let to a woman, on the hire system. A third summins was heard against Walter Watson, auctioneer, of the Euston Road, for a similar offence. George Taylor, who had been for about six months in the employ of Mr. Watson, said that he had seen pianos arrive at the premises of Mr. Watson from Hamburg without names. They were marked with different names before being sent out. Mr. Newton said that he thought Messrs. Tooth and Tooth had acted negligently. They would have to pay £10, with 5 guineas costs, and Watson must also pay the same amounts. It was stated on behalf of Messrs, Tooth that they intended to appeal." Musical News, Volume 1, 05/06/1891, p. 282
1892 BECHSTEIN - KAPS scandal
Dresden. Als Marke ist eingetragen unter Nr.
287 zu der Firma : Auf unseren an diese Firma gesandten Fragebogen für die Neuausgabe des Weltadressbuches der gesammten Musikinstrumenten Industrie ging uns eine Zuschrift mit Insertions-Auftrag zu, wobei sich die Firma eines Briefbogens mit folgendem gedruckten Kopfe bediente :
Die ganze Zuschrift, die Adresse des Couverts,
Text für Inserat und Extrabemerkungen, war mit einer Schreibmaschine
hergestellt. An Stelle der Unterschrift befand sich ein blauer Gummistempel:
„E. Bechstein", darunfer als handschriftlicher Zusatz ein unleserliches
Gekritzel. Ein zweiter uns zugegangener Brief, der ebenfalls mittelst
Schreibmaschine hergestellt war, unterschied sich von ersterem nur dadurch,
dass sich von dem blauen Gummistempel das in der kaufmännischen
Correspondenz übliche Zeichen pr. mit Tinte geschrieben befand (also : pr.
Bechstein), während sich das Gekritzel der Unterschrift zu einem ziemlich
leserlichen Sch ausgebildet hatte. Ein im Hochparterre, nach dem Hofe gelegenes einfenstriges Stübchen stellte das Geschäftslokal der vielversprechenden „Gründung" dar. Der sehr primitive Briefkasten und das Porzellanschild mit der Aufschrift „E. Bechstein" bildeten das ganze Inventar! Das Personal wurde dargestellt durch einen jungen Mann, der in den frühen Morgenstunden die im Briefkasten befindlichen Korrespondenzen abbolte und dann in geheimnissvoller Weise verschwand. Der Chef der Firma, Max Eberhard Bechstein, hatte sich in noch tieferes Dunkel gehüllt, denn er war nicht einmal dem Hausmeister des betreffenden Grundstückes bekannt. Eine polizeiliche Meldung lag auch nicht vor. Es konnte nach all' diesem kein Zweifel bestehen, dass ein Strohmann mit der Ausbeutung des Namens Bechstein einer Konkurrenzfirma betraut war. Herr Kommerzienrath C. Bechstein in Berlin bestätigte unsere Vermuthung.
Die in Gemeinschaft mit demselben gepfiogenen
Erörterungen führten zur Lösung des Räthsels, allerdings nach Ueberwindung
vieler Schwierigkeiten. Denn so plump dieses Manöver auf den ersten Blick
erscheint, so viel Scharfsinn und List waren aufgewandt, um dem Anstifter
nicht auf die Spur kommen zu können. Er wohnte und wohnt noch jetzt Brüderstrasse 13, Hinterhaus I Tr. Seine vormaligen Setzerkollegen wussten sehr gut, dass er eines Tages nach Dresden gereist sei, um seinen Namen gegen gutes Geld zu diesem unlauteren Zwecke zu verwerthen, ohne dass sein Prinzipal von dem Vorhaben wusste.
Man vergegenwärtige sich nun: E. Bechstein
gehört mit Leib und Seele einer Partei an, die den Kapitalismus und das
monarchische Prinzip mit allen nur möglichen Mitteln bekämpft, er begiebt
sich mithin in den Sold derjenigen, die seinen Anschauungen in der
schroffsten Weise gegenüberstehen! Denn man höre und staune:
Aber wir stehen trotzdem vor dieser Thatsache.
Als nämlich von seiten der Dresdener Polizei der unangemeldete E. Bechstein
aufs Anmeldebureu zitirt war, erschien - Herr Eugen Kaps. Derselbe erkärte
sich für den Vertreter von E. Bechstein.
„Ihr Geehrtes vom 18. cr. wird mir nach hier
schriftlich nachgesandt,
Dass aber E. Bechstein nicht dort war, ergiebt
sich aus folgender Mittheilung des Strassburger Meldeamtes : Es ist tief bedauerlich, dass eine Firma von dem Rufe Kaps glaubt, zu solchen Mitteln greifen zu müssen, um dem Wettbewerbe auf dem Weltmarkte zu begegnen. Wir haben es, wenn diesem Treiben nicht rechtzeitig ein energisches Halt geboten wird, mit einer ernsten Gefahr für die gesammte deutsche Industrie und den guten Namen deutscher Geschäfts-Firmen zu thun. Die Pflicht eines Jeden, der ein warmes Herz auch für unsere Branche hat, ist es, solchen sich selbst verurtheilenden Handlungen entgegen zu treten und sie unerbittlich zu bekämpfen. wo er sie findet." Der Klavierlehrer: musikpädagogische Zeitschrift für alle Gebiete ..., Volume 15, 01/03/1892, p. 57 & Zeitschrift für Instrumentenbau, Volume 12, 11/02/1892, p. 221
„Zur Klarstellung. In der Zeitschrift für Instrumentenbau und nach dieser in anderen Zeitungen ist ein Artikel erschienen, welcher die Beziehungen der Firma E. Bechstein in Dresden zu mir bespricht. Ich bemerke hierzu, dass ich an dieselbe lediglich Pianoforte-Grundbestandtheile geliefert habe, wie ich das auch an andere Fabriken thue, während die Fabrikation von Instrumenten nur deren Inhaber, Herr Joseph Hirschel, ein alter, erfahrener Instrumentenbauer, besorgt. Da genannte Firma, welche gedachte Bestandtheile auch von jeder anderen Seite erhalten haben würde, zur Fabrikation von Instrumenten durchaus berechtigt ist, so wird wohl Jeder hiernach die Angelegenheit richtig beurtheilen. Da andererseits der betreffende Artikel zweifellos den Zweck verfolgt, eine Polemik hervorzurufen, so bedarf es meinerseits keiner weiteren Erklärung. Dresden, 25. Februar 1892. Ernst Kaps. 
Erklärung.
Zu dem in der „Zeitschrift für Instrumentenbau" über die Firma E. Bechstein
in Dresden enthaltenen Artikel habe ich bereits in No. 15 der gedachten
Zeitschrift die nachstehende Erklärung abgegeben, welche ich hiermit
wiederhole :
Mitte September vor. Is. erschien im „Reichsanzeiger" eine Bekanntmachung des kgl. Amtsgerichts Dresden, die Eintragung der abgedruckten Marke „E. Bechstein in Dresden" für Instrumente. Auf Anfrage erhielt die Zeitschrift einen Insertionsauftrag, wobei der benüste Briefbogen mit folgendem gedruckten Kopfe versehen war: («E. Bechstein Pianofortefabrik, Fabrik von Pianoforte Grundbestandtheilen, Exporthaus für Musikinstrumente, Friedrichsstadt, Dresden, Berlinerstraße 43», rechts und links mit der Eintragungsmarke gekennzeichnet. Der mittelst Schreibmaschine hergestellte Brief enthielt in einem Gummistempel die Unterschrift „E. Bechstein", darunter ein unleserlich handschriftlicher Zusak. Ein folgender, bei genannter Zeitschrift eingegangener Brief enthielt bei dem handschriftlichen (als Sch entzifferbar) Zusak das übliche Zeichen pr. mit Tinte geschrieben. Die Zeitschrift stellte alsdann Erkundigungen an, welche ergaben, daß in der Berlinerstraße 43 sich weder eine Pianofortefabrik, noch eine Fabrik von Pianoforte-Grundbestandtheilen oder ein Musikinstrumenten-Exporthaus befand; im Hochparterre war dagegen ein nach dem Hofe gelegenes einfenstriges Stübchen mit Briefkasten und Porzellanschild und der Ausschrift E. Bechstein. Erkundigungen ergaben, daß allmorgentlich ein junger Mann die in dem Briefkasten befindlichen Correspondenzen abholte und dann verschwand. Eine polizeiliche Anmeldung eines E. Bechstein in Dresden lag nicht vor. Auf Benachrichtigung der bekannten Firma des Commerzienrath C. Bechstein in Berlin wurden neue weitere Recherchen gepflogen, die ein ganz plumpes Geschäfts-Concurrenz-Manöver bloslegten. Der Abholer der Correspondenzen und der, welcher bei dem Dresdener Amtsgericht die Marke hatte eintragen lassen, war mit dem Schriftsever Max Eberhard Bechstein aus Hartha gebürtig und in Leipzig wohnhaft, der durch den Buchdruckerstrike conditionslos geworden war, identisch. Auf Requisition der Dresdener Polizei wurde der unangemeldete E. Bechstein aufs Anmeldebureau citirt; hier erschien Hr. Eugen Kaps, Sohn des kgl. sächs. Commerzienraths und Hofpianoforte-Fabrikanten, der sich als Vertreter des E. Bechstein erklärte. Inzwischen war auch bereits festgestellt worden, daß sämmtliche Briefschasten der Firma Bechstein in die Bureaux des Hrn. Kaps wanderten und dort ihre Erledigung fanden und das Stübchen gegen eine Jahresmiethe von 80 M. von einem Prokuristen der Firma E. Kaps gemiethet worden war. Das Geschäftsmanöver wurde sogar soweit ausgedehnt, daß man Briefe unterzeichnet E. Bechstein von dem angeblich auf der Tour befindlichen Pianofortefabrikanten Bechstein an Anfragende aus Straßburg sandte, wo nach Polizeiausweis sich zu jener Zeit überhaupt dieser nicht befand. Solche Vorkommnisse, der Versuch, durch Namenstäuschung im Wettbewerb zu bestehen, sind eine ernste Gefahr für die gesammte deutsche Industrie und gehören mit Recht an den Pranger gestellt!" Mnemosyne, 27/12/1892, p. 100
"MR. C. BECHSTEIN, PIANOFORTE MANUFACTURER BY SPECIAL APPOINTMENT TO H.M. THE QUEEN, &c. - 40, WIGMORE STREET, W.
Mr. Bechstein began to bring his pianofortes prominently before the notice of musicians and the public in England in 1862, when he gained the highest award. His first establishment was opened in Rathbone Place in 1871, was transferred to 445, Oxford Street in 1879; but owing to the enormous increase of business a fresh removal to larger premises had to be made in July, 1890, since which date it has been carried on at the above address in Wigmore Street, and forms one of the best-known pianoforte depots in the metropolis.
Mr. Bechstein’s success in
this country can only be described as remarkable, for during the twenty
years in which his show-rooms have been open to the London public an immense
English business has been built up, and the Bechstein pianofortes have
gained an enviable position in the esteem of musical people in London and
the provinces. These splendid instruments embody the highest perfection of
pianoforte manufacture, and are quite unsurpassed in the richness and purity
of tone which has endowed them with a world-wide reputation. Mr. Bechstein has gained the commendation of some of the greatest musicians of our time, and won the illustrious patronage of the Royal and Imperial houses of England, Germany, Russia, Italy, Bavaria, Wurtemberg, Portugal, and Roumania, as well as of a great many of the princely and ducal families of Europe. It was a Bechstein pianoforte (specially made for the occasion) that was presented to the Empress-Queen Frederick on the occasion of her silver wedding. This superb instrument (the cost of which was no less than one thousand guineas) was enriched with hand-painted panels, several of which were the work of Her Majesty the Empress herself.
A fine engraving of the
instrument hangs in one of Mr. Bechstein’s London show-rooms. Pianofortes of
almost equal value have been made by Mr. Bechstein for other distinguished
personages; and of his ordinary manufactures several hundreds are displayed
in the Wigmore Street show-rooms at prices ranging from sixty to five
hundred guineas. Richard Wagner said of the Bechstein pianofortes that they were “resounding benefits to the musical world.” Liszt wrote : “For twenty-eight years that I have now used your pianos they have maintained their superiority.” The testimony of Rubinstein is to the effect that “C. Bechstein has attained the utmost degree of perfection in the art of instrument making;” while Von Bulow declares that “Mr. Bechstein’s instruments are distinguished by their superior quality in every branch of pianoforte manufacture.” Mr. Bechstein’s business in London is managed with conspicuous ability and judgment, and increases year by year as the merits of his pianofortes become more widely known. At the present time the connection of the house extends to all quarters of the United Kingdom; and the marked appreciation of the Bechstein pianos manifested by all sections of the musical public in Great Britain constitutes a thoroughly sincere tribute to their sterling qualities, and gives a general endorsement to the favourable verdict long since pronounced by men whose profound knowledge of the technique of piano-playing gave them the right to speak with authority." Ilustrated London and its representatives of Commerce, 1893, p. 78
1894
The Art-journal, 05/1894, p. 143
You need only hand over your instrument to your upholsterer: he will dump it in a convenient out-ofthe-way spot, and so smother it under hangings and flowers and palms and statuettes, that it will never be seen until you have got near enough to break your shin on it. If, however, your drawing-room be anything under half the abovementioned proportions and of the customary rectangular shape, the question of the placing of your piano will be a question indeed-a nearly, or quite, unanswerable one. Set it here and the light does not fall on the music; there, and it blocks one or more of your windows; there again, it stops your doorway; here, and it throws every other piece of furniture in the room out of harmony. In short, you will find that, place it where you will, cover it with elaborate trappings and ornaments as you please, it always remains an eyesore, an element of discord. [...][...] The illustration of a Bechstein "artistic" short grand shows at once how much and how little may be done by ornament, so long as the form remains unaltered." The Art-journal, 05/1894, p. 142-143
The Artist, Volume 15, 10/1894, p. 387
It was a pianoforte such as a rip Van Winkle might have constructed, the work of an old-world wood worker make a case for a pianoforte. The design to our mind, however, has the disadvantage of making too bold a feature of what is unquestionably merely an adjunct. The light-holders are useful enough, but, after all, “the play's the thing," or, to be less accurate, the thing that is played upon is that which we are anxious to beautify. Nevertheless the departure is an indication that we are not always to remain hide-bound with conventionality, and that at least one artistic mind has given the case of our pianoforte, which is, nowadays, always with us, waking and sleeping, proper consideration." The Artist, Volume 15, 10/1894, p. 387
Piano-Case by Walter Cave A history of the pianoforte and pianoforte players, tr. and revised by E. E ..., Oskar Bie, 1899, p. 313 - see here below for the patent in 1895 and description in 1896 and 1899
One such a
1895
PATENT - Piano-Case. - Walter Cave
1896
Broadwood's grand pianos have the curved sides bent in the solid wood by steam, and afterwards veneered. Steinways build their grand piano cases of layers of continuous maple and oak, of veneer thickness and of adequate length, and bent into the required form in metal presses. Bechstein, in his latest model, has twenty-two thicknesses of wood in the curved side and end, the back being solid or in two thicknesses; it is supposed that these expedients assist the resonance. In the Steinway and Bechstein grand pianos the depth of the bent or curved side is reduced considerably." A Description and History of the Pianoforte and of the Older Keyboard, 1896, p. 14
Bechstein Cottage
Piano, « English style »
The chief novelty is in the cupboard-doors, which open so as to allow the music-desk to fall into place. These doors occupy but half the width of the front, so that they fold back quite out of the way of the player; the candle-sconces also concealed behind the doors, are brought into use when required. It is a shape that has more than novelty to recommend it, but seems to have been designed to please artistic people without entirely failing to adapt itself to a room furnished in ordinary good taste. Therefore, despite its excellent intention, one would like to see the same idea worked out more simply, for the obvious advantages of its plan do not depend upon any costly material or applied decoration." The Studio, Volume 9, 1897, p. 133
Piano-Case by Walter Cave
Bechstein is a showy would be found to be both too low down and but it does not stand firm, which is one of but very ordinary affair, the usual type of too near the plane of the book-desk to be of the first requisites of a chest of this kind expensive upright piano, with a great deal of much practical use." The Builder, Volume 71, 17/10/1896, p. 304
1898
MILSOM V. BECHSTEΙΝ. Damages-General damages-Breach of contract -Amount of damages reduced by Court of Appeal.
The plaintiff, a pianoforte and music seller carrying ou business in Bath, claimed damages against the defendant, a pianoforte manufacturer carrying on tusiness in Berlin and London, for breach of an agreement; he also claimed an injunction. The defendant pleaded that there was no breach of the agreement and counterclaimed for damages for an alleged breach of the agreement by the plaintiff. The agreement in question, dated April 27, 1885, gave the plaintiff the sole agency for the sale of Bechstein pianos in Dorset, Somerset, and Wilts, and in Bristol and in the district of Clifton. This was subsequently modified by the omission of Dorset. Clause 2 of the agreement was as follows : -"The said Carl Bechstein will not, either by himself or his representatives in England, appoint any other agent for the sale of the Bechstein pianofortes in the said districts." Clause 3 : "In case any pianofortes shall be sold by Carl Bechstein from his London depot to any person residing in the said districts, or to professors of music or other persons intending to send the same to the said districts, then the account of the said Francis Henry Milsom with the said Carl Bechstein shall be credited with the same amount of profit or difference between wholesale and 'cash prices as would have faccrued to the said Francis Henry Milsom if such pianofortes had been sold through him direct." Clause 4 : -"The said Francis Henry Milsom agrees on his part to use his best endeavours to sell the Bechstein pianofortes and also to advertise the same throughout the said districts to such extent and in such way as shall in his discretion seem to him most advantageous for effecting the sale thereof." It appeared that between January and March, 1897, the defendant supplied 19 pianos to Messrs. Duck, Son, and Pinker, who were pianoforte dealers in Bath and Bristol, telling them that they could not be agents as there was an agency running, but that he would supply them with pianos. The plaintiff wrote to say that if Messrs. Duck were supplied as customers and not as agents he would not object if he incurred no liability and received 10 per cent. on each piano as his commission. The defendant wrote to say 10 per cent. was too much. In August of this year the plaintiff was given six months' notice to terminate the agency. The plaintiff's case was that Messrs. Duck were in reality made agents for the defendant, and it was a breach of the agreement to supply trade rivals of the plaintiff: that the plaintiff had spent large sums in advertising these pianos; and that he was entitled to £164 4s. 6d. as his commission on the pianos sent to Messrs. Duck and further substantial damages for breach of the agreement. For the defendant it was contended that clause 3 of the agreement applied to a case like this, that there was no breach of the agreement in supplying Messrs. Duck, and that even if it was a breach the damages could not be more than 10 per cent. commission on these 19 pianos. The jury found a verdict for the plaintiff for £614 4s. 6d., and the learned Judge granted an injunction.
Mr. T. W. Chitty (Mr. J. Lawson Walton, Q.C., with him) appeared for the
defendant; Mr. R. Μ. Bray; Q.C. (Sir Edward Clarke, Q.C., with him),
appeared for the plaintiff. The jury, over and above the amount which the plaintiff was shown to have lost in consequence of the particular sales of pianos which had been proved at the trial, gave the plaintiff £450 as general damages. He was puzzled to know in respect of what that sum of damages was given. This was not like those cases of slander in which it had been held that general damages might be awarded, on the ground that it was impossible for the plaintiff to give evidence as to what particular customers had been prevented from coming to deal with him.
The rule which had been there followed did not seem to him to be applicable to
this ease. In his opinion there was no evidence which justified the jury in
drawing the inference that the plaintiff had suffered any damage beyond that
which had been specially proved. He thought, therefore, that the plaintiff
was not entitled to the £450 damages, and that they must reduce the damages
to £164. There would be no costs on either side.
1899
Piano-Case by Walter Cave A history of the pianoforte and pianoforte players, tr. and revised by E. E ..., Oskar Bie, 1899, p. 313 - [this modell already seen in 1894, here above]
The contradiction between its plain form and gaudy ornamentation becomes very marked. Earlier ages saw clearly that the walls of the piano and its lid are best left plain, and adorned with paintings. But today the cases are more frequent in which specially magnificent pianos are so carefully fitted up with plastic ornamentation in all styles with pillars, reliefs, and other descriptions of carving, that one can only smile at the waste of labour. In the overrich rococo adornment, which was presented by a piano built by Bechstein some time ago for the Empress Frederick for a particular apartment, a trained eye can today find no pleasure. More tolerable are the splendid grands, richly adorned with paintings, in which, in Germany, Max Koch is chiefly concerned.
[it was not from 1896, but from 1890, see article here above] The Wagner piano for the Prince of Anhalt-Dessau, or the Rheingold piano, both by Bechstein, are also worth noticing. The latter has the daughters of the Rhine for legs, a waving ornamentation on the walls, and carved bulrushes on the lid; it is one of the most interesting monster-pianos built in our time. In England Alma Tadema is the piano-painter most in request. For Henry Marquand of New York he prepared an instrument, adorned with precious stones and with painting, which was priced at £15,000. His own piano is also extraordinary. The ornamentation chosen is in the style of mediæval mosaics, with expensive surface ornamentations. Under the lid are framed and adorned parchment strips, on which Liszt, Tschaïkowski, Gounod, and others, inscribed their names. This was appraised at £2500. A piano built in London for Carmen Sylva had ivory legs. Perhaps a varied ebony and ivory ornamentation, which springs from the appearance of the keys, taking advantage of the splendid surface provided by these materials, would be more promising than any kind of rococo or Gothic design. Ivory is still in strong demand for pianos. Ninety thousand instruments are yearly issued from the hundred and seventy London houses; and these take ten thousand tusks." A history of the pianoforte and pianoforte players, tr. and revised by E. E ..., Oskar Bie, 1899, p. 314-315
BRITISH DECORATIVE ART IN 1899
[about the
Bechstein Cottage
Piano, « English style »
1900
The Emperor and Empress of Germany were represented by His Excellency, Count Mirbach, and the world of music, literature, art, science and politics all assembled to do honour to his memory. Carl Bechstein was born on June 1st, 1826, at Gotha, and died, March 6th, 1900. It was Dr. Hans von Bülow, who first recognised the worth of the Bechstein pianos and who, in 1856, used one of them on which to play Liszt's B flat minor sonata. In 1862 Bechstein first exhibited in London, and where a branch was opened in 1879. As a man Carl Bechstein won the hearts of all who had to deal with him, and nothing could be more touching than the reverence shown by rich and poor alike, who were present at the interment." The Violin Times: A Journal for Professional and Amateur ..., Volume 7, 15/04/1900, p. 101
1910 BECHSTEIN v. BARKER
Mr. CLAYTON (outlining the case for the plaintiffs) said that the defendant was Farina Arthur Barker, who carried on business as Barker & Barker. The plaintiffs were Messrs. Edwin & Carl Bechstein, who carried on business as pianoforte manufacturers at 32-40, Wigmore Street, London. They sought to restrain the defendant from infringing two their trade marks consisting their name of one case appears Bechstein, which in in the form of block lettering and in the other in old English characters; they also sought to restrain him from passing off, or from attempting to pass off, or from selling pianos by the use of the words "Bechstein" or "Bechstein model." [...][...]" Musical Opinion and Music Trade Review, Volume 33, 01/05/1910, p. 602-604
1913 A Trade Mark Case - Another Fraudulent Bechstein AT Oldbury Police Court (Worcester) on Tuesday, April 15th, before Messrs. E. W. Jackson (chairman), T. W. Adshead and G. Bean, Mrs. Lilian Payne (a widow residing at 118, Galton Road, Warley) was charged with selling goods to wit, a piano-bearing a false name; and William Mainwaring (of Icknield Street, Birmingham) was charged with applying to certain goods-to wit, a piano - a false name with intent to deceive.
Mr. Travers Humphreys prosecuted, and Mr. G. N. Bark appeared for both
defendants, who pleaded not guilty. To show how popular the pianos are, trade marks similar to the Bechstein have been adopted; and the allegation here is that the piano which had upon it an imitation of Messrs. Bechstein's trade mark was sold by Mrs. Payne and that the fraudulent imitation of the trade name was applied in fact by Mr. Mainwaring. I will just remind you of the section of the Act under which this prosecution is taken. The terms of the Act of Parliament, Section 2, of the Merchandise Trade Marks Act of 1887 says : "Every person who falsely applies to goods any trade mark or any mark so nearly resembling a trade mark as is calculated to deceive is guilty of an offence." Both defendants will have to prove that they did not act with any intent to defraud. Sub-section 2 of the same act says : "Every person who sells any goods to which marks so nearly resembling a trade mark as to be calculated to deceive shall be guilty of an offence, unless he prove first that, having taken all reasonable precaution against committing an offence against the Act, he had at the time no reason to suspect the genuineness of the trade mark, and secondly that the person had acted innocently." In the first case the onus is upon Mr. Mainwaring, assuming the mark is calculated to deceive as being an imitation of the trade mark, and it is upon him to prove he had no intention to defraud.
With regard to the case against Mrs. Payne, she has either to prove that
having taken all reasonable precaution she had no reason to suspect the
genuineness of the trade mark, or on the alternative she acted innocently.
In the case of an article which is only sold as between experts, the persons
to be considered are experts and we require a very strong case to The trade mark used on the piano was "Bernstein," which is "Bechstein" with an alteration of two letters in the middle, rn instead of ch. It looks very much like whether an ordinary person would be deceived by the names. I think the bench will be interested to know that there is no such firm of piano manufacturers in existence as " Bernstein. [...][...][...]" Musical Opinion and Music Trade Review, Volume 36, 05/1913, p. 613-614
1926
On peut dire qu’il serait difficile de trouver aujourd’hui une ville d’une certaine importance où l’on ne joue nas sur des pianos de la marque Bechstein. Vers le milieu du siècle passé, par contre, les instrumente allemands furent très rares dams les salles de concerte. Si on n’est plus le cas, le mérite revient avant tout à Carl Bechsteln. La vie entière de oet homme fut consacrée au travail. Il ne laissait Jamais sortir un instrument de sa fabrique qu’il ne pût pas garantir de son propre nom. Après un apprentissage chez un facteur de pianos à Erfurt, il fit un court stage dans une fabrique de Dresde et travailla ensuite dans l’entreprise renommée de G. Pernau à Berlin. Un séjour dans la fabrique de Kriegelstein à Paris lui permit de développer davantage ses connaissances professionnelle et artistiques, de sorte qu’il fut chargé de la direction de 1a fabrique de Permau. En 1853 il commença à travailler pour son oompte. Avec le seul concours d’un menuisier, il construisit ses deux premiers instruments de ses propres mains. Ge travail lui demanda un effort continu de neuf mois. Des fabriques Bechstein occupent aujourd’hui une superficie de 45.000 mètres carrés et donnent du travail à plus de 800 ouvriers et employés. Hans von Bülow reconnut de bonne heure la supériorité des instrumente Bechstein. Son excellente opinion est aujourd’hui partagée par les sommités du monde musical. La fabrique eut dont un essor extrêmement rapide. Les commandes furent bientôt si nombreuses que déjà en 1860 la fabrique dut être considérablement agrandie. En 1879 Carl Bechstein fonda une succursale à Londres. Depuis quelques années la maison po'ssède de vastes locaux d’exposition et de vente tout près du jardin zoologique de Berlin, donc dans le quartier le plus important et le plus élégant de la capitale allemande. Carl Bechstein mourut en 1900. Beaucoup de jeunes débutante et des artistes au talent affirmé ont trouvé en Carl Bechstein un promoteur et un mécène aussi avisé que bienveillant. Sa probité professionnelle et son enthousiasme pour tout oe qui touche à l’art musical survivent dans ses fils qui continuent à diriger la fabrique de pianos Bechstein d’après les excellents principes de leur père." La Suisse Libérale, 08/06/1926, p. 2 (e-newspaperarchives.ch)
1931 Révolution en musique par «l’électro-acoustique »
Le professeur Nernst, un des physiciens les plus en vue de notre temps, a fait construire, en commun avec le consortium électrique et la fabrique de pianos Bechstein, un piano-forte, reposant sur le principe électro-acoustique, qui est une merveille. Il a entièrement l'aspect d'un petit piano—forte, comporte des touches analogues à celles des instruments de ce genre, mais n'a pas de caisse de résonance et possède à l'intérieur un agencement tout autre. Les sons sont purement électriques et renforcés par un haut-parleur, Ces sons électriques, créés pour la première iois par le professeur russe Theremin, ont la singulière propriété d'avoir une sonorité différente, selon la volonté du musicien. Aussi le piano électro-acoustique ne peut-il être comparé à un instrument quelconque. Il n'est pas lié à un accord déterminé, il permet d'émettre l'échelle diatonique d'une orchestre complet, depuis le son grêle du clavecin jusqu'à la. voix grave de l'orgue. C'est presque un instrument universel et, ce qui est l'essentiel. qui permet la production de musique d'lme magnificenœ inconnue jusqu'à ce jour. Le premier instrument vient d'être livré au public. Sa construction a été tenue rigoureusement secrète pour mettre le monde devant un fait accompli. Le premier concert a été donné devant un auditoire select et, après un succès triomphant on va en commencer la fabrication en série. Cet automne ce piano sera mis en vente. Il a encore l'avantage d'être meilleur marché que nos pianos ordinaires, On envisage même qu'il ne coûtera que moitié prix. Les sphères musicales déclarent que c'est là une invention technique capable de transformer complètement nos conceptions de l'harmonie. Ce n'est aucunement un appareil mis en activité au moyen d'ondes électriques, à l'instar du radio. Les sons ne sont pas produits par la frappe des touches dont les marteaux appuient sur des cordes de cuivre tendues, mais bien par des vibrations électfiques renduæ perœptiblæ par un haut-parleur. L'histoire de la musique entre dans une période nouvelle. Le piano—forte est. on le sait, un instrmnent de musique ayant non la forme d'une table. mais d'une aile. Il a été inventé il y a à peu près 200 ans par le Florentin Cristofori. Depuis ce temps, à part quelques perfectionnements, il n'a subi aucun changement dans le principe de sa construction. Le piano électro—acoustique du professeur Nemst. par contre, va bouleverser ce principe. Rappelons à cette occasion qu'un instituteur allemand, Jôrg Mager a construit. il n'y a pas longtemps, un orgue électro—acoustique dont les sons sont produits par un champ magnétique moléculaire et par divers circuits électriques. reliés à des hauts—parleurs. Il parait que cet orgue a tellement émerveillé Mme Wagner, la veuve de Siegfried Wagner, qu'après avoir entendu cette musique céleste elle a cbmmandé cet instrument pour accompagner les grands opéras de Bayreuth." Solidarité, 03/10/1931, p. 3 (e-newspaperarchives.ch)
BECHSTEIN
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«1864
- 40 Wigmore Street, W., for C. Bechstein, Pianoforte Manufacturer,
