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KIRKMAN
1851
FT -
IN. FT. - IN. The tone of this lilliputian instrument
is wonderful for its size, and the workmanship throughout is perfect."
Newton's London Journal of Arts and Sciences, 1851,
p. 35
The art and science of pianoforte-making seems to
be concentrated in tl'is little instrument : and were it not there to speak
for itself, no one would believe it possible to produce such clear, full,
and sparkling tones in so small a compass, while no difficulty seems to be
avoided, having 6¾
octaves and all the modern improvements.
[...] Another
improvement, also by Messrs. Kirkman, is tlie addition of metal bracings to
their oblique pianofortes, and the introduction of drilled metal studs and
the harmonic bar fir tiic improvement of the upper notes, so often defective
in this class of instruments."
The Crystal Palace, and its contents : being an
illustrated cyclopaedia of the great exhibition of the industry of all
nations, 1851, p. 42 (archive.org)
Ceux qu'ils ont mis à l'Exposition consistent en un grand piano de
sept octaves (la-la), et un grand piano à deux cordes, de six
octaves et une sixte, d'après le système de construction ordinaire.
MM. Kirkman lui ont donné le nom de Fonda, que je ne comprends pas,
à moins qu'ils ne se soient trompés sur l'orthographe, et n'aient
voulu écrire funda (de fundo, lancer), ce qui pourrait indiquer
quelque particularité de mécanisme que je n'ai pas aperçue.
Le grand piano à trois cordes m'a paru d'une qualité assez médiocre;
le bicorde est comparativement plus satisfaisant. MM. Kirkman ont
exposé aussi un petit piano droit à trois cordes obliques dont la
sonorité est inférieure aux pianos français du même genre.
Enfin, on doit à MM. Kirkman un petit bijou de grand piano, dont le
côté le plus long n'a que 1 mètre 16 centimètres, la largeur du
clavier 80 centimètres, et qui a l'étendue de six octaves et demie
(ut-sol). La puissance des sons de ce petit instrument est
très-remarquable, même dans la basse.
J'ai essayé de ce piano lilliputien, mais mon petit doigt s'est
trouvé trop large pour les touches. MM. Kirkman me paraissent s'être
proposé de venir au secours des pianistes à la mamelle, classe
d'artistes à laquelle on n'avait pas accordé jusqu'à présent
l'attention qu'elle mérite peut-être."
Gazette musicale de Paris, 21/09/1851, Fétis
père, p. 314
1853
Mr. Marcus Moses, of Westmoreland-street, has contributed a number of instruments, among which are some elegant Gothic harps, in walnut and satin-wood, manufactured by Messrs. Erard. There are also several grand and oblique pianofortes by the same maker. The grand piano in Amboyna-wood, manufactured by Broadwood, is equally attractive; so also are the massive and highly finished squares of Collard, in mahogany and rosewood, and the carved cottage, in walnut-tree-wood. Mackintosh, of Rutland-square, exhibits, both in the Central Hall and in the Gallery, a varied assortment of pianos, combining almost every shape and description, and comprising the makes of Broadwood and Kirkman, of London, and others of inferior note. The Messrs. Kirkman, however, are the largest exhibitors on their own account, and fill a large space in the Central Hall with their instruments. Here we have specimens of the most elegant and costly pianos-the grand, the semi grand, the oblique, the cottage, and the piccolo; exhibiting the various improvements that have been lately effected in that much-desired instrument. The principal of these instruments are distinguished for the novelty of their construction, and the high finish which has been bestowed upon them. The concert extra-grand, for example, in rosewood, having seven octaves of great volume, clearness, and brilliancy of tone, is remarkably effective. The semi-grand, also, in French walnut, with seven octaves, with Brazilian tulip-wood inlaying and bands, is a beautiful specimen of simple and plain cabinet work; while the shape and line of the case, with its finely figured wood, is exceedingly graceful. The upright piano, exhibited by these manufacturers, called the oblique grand, in rosewood, with seven octaves, is well worthy of remark. This instrument occupies no more space than an ordinary piccola piano, with a slight extension of the ends, and is nearly equal to the horizontal grand in the rich and powerful quality of its tone. This character of piano has long been a failure, particularly to its not keeping tune and up to the concert-pitch. These manufacturers, however, have obviated the difficulty by applying metallic bracings and a string plate, notwithstanding the difficulties of the scale and construction. By this means the instrument is made most effective, and gives out the fine tone of higherclassed pianos; it also occupies less space than ordinary instruments, and from its upright form it is susceptible of more elegance and ornamentation in its shape. Another advantage arises from its diagonal construction; the requisite length of string is obtained without increasing the height, which peculiarly adapts it for accompanying the voice. The semi-oblique cottage, of this exhibitor, with seven octaves, a patent double-repeating action, and three strings, in pollard Irish oak case, is especially attractive, from the fine grain of the wood. Placed in juxta-position with a case of Amboyna wood, this oak appears to great advantage; and it would require a peculiar judgment to determine the superior beauty of the two. The Amboyna wood is brought principally from Ceylon, where it attains enormous growth, sometimes measuring twenty feet in girth the wood, which obtains a high price in the English market, is merely an excrescence, or disease, which grows out of the side of the tree, and is of a gnarled character of grain, peculiarly hard, and susceptible of a high polish. From the nature of its growth, it can only be obtained in small pieces, is usually cut into veneers, and is employed in the finer branches of cabinet work. The pollard oak is nearly of the same growth, and has a similar character of grain; and it is singular that, while we are importing large quantities of the Amboyna from Ceylon, we are neglecting the pollard-oak in our country, in which it more ог less abounds, and especially in Ireland. A comparison of the rich tortoiseshell-like appearance and fine figure of the oak in question, with the Amboyna, on the stand of Messrs. Kirkman, will soon convince even the sceptical which is the more beautiful wood of the two. Sufficient attention, we hegret to say, is not paid to the beauty and grain of our own grown woods; for the walnut, the pollard-oak, and even the elm, under certain conditions, have their peculiar beauties; and in some respects equal, if not superior, to many foreign in great request." The Illustrated London News, Volume 22, 04/06/1853, p. 462
1862
&
The form of the legs or trusses, and their connection with the pedal lyre
and the side ornaments, is especially good; and the skill with which the
ornament is adapted to the top of the in- strument, so as almost to conceal
its irregu lar shape, reflects great credit on the though over five feet
wide, is made of one solid piece of rosewood without a joint. Even in India
it is extremely rare to meet with rosewood of such large dimensions.
Kirkman and Son, of Solio Square; we introduce an illustration in order to show the beauty of the case merely—its exquisite tone is well known to all who had the pleasure of hearing it played upon. The Oblique Grand was exhibited in the Indian Department. It was seven octaves, from A to A, with undcrdampers, repetition action, and all the latest improvements. The rosewood case of this fine instrument was elaborately carved at Madras. The designs and working drawings were sent from England by J. Kirkman and Son; the case was made, and the carvings executed, by the native workmen in the most correct manner. As a specimen of the native Indian skilled labour it is interesting, as showing the ready capability of the native carvers to apply the art in which they excel to any purpose that may be required. The top of this pianoforte is made out of a solid piece of rosewood, without a joint; it is five feet wide, and even in India it is rare to meet with rosewood of such large dimensions." Cassell's Illustrated Exhibitor: Containing about Three Hundred, 1862, p. 272
They also show a new method of mounting the string of the grand on the back bridge. They receive a Medal for beauty of tone and general excellence of construction." Reports by the Juries on the subjects in the thirty-six classes into which ..., 1862, p. 148
Their carved grand in the Indian department we have already noticed. Their other pianos are a concert grand in fine walnut case with carved trusses; a concert grand in English pollard oak, richly carved and gilt; a drawing-room grand in amboyna, a rare and costly wood; and a boudoir grand, inlaid with parquetrie of various woods on a ground of amboyna. This instrument, for beautiful work and high finish, is quite a gem in its way, and is an exquisite specimen of the class of work. The same firm exhibit an oblique pianoforte in walnut and one in amboyna, richly carved and gilt; a cottage pianoforte of very handsome design in ebony and gold; and a cottage pianoforte in walnut, inlaid with tulipwood and ebony, a very pure and chaste design in the Italian style. In one of their grand pianofortes Messrs. Kirkman have a new bridge to prevent the sinking of the sounding-board, which is applied in a very scientific and thoroughly mechanical manner, and for certain classes of pianofortes must be a valuable improvement. Whether for purity, richness, and equality of tone and excellence of touch, fine workmanship, or the elegance of the form of their pianos, the whole display of instruments by Messrs. Kirkman is most creditable to English pianoforte-making." The Illustrated London News, 14/06/1862, p. 616
1865
1867
From English their full grand at 175
guineas, down to the piccolo at 48 pianos. guineas, the instruments are, one
and all, excellent."
Reports on the Paris Universal Exhibition,
1867, Volume 2, p. 199
1872
The cast-iron frames are made in one or two pieces. Uncertainties
surround the operation of casting, as the iron, when cooling, is apt to
shrink unevenly or to curl, all of which incidents are inimical to the
true fitting of the action and strings afterwards.
Messrs. Kirkman,
appreciating the importance of these facts, have adopted steel as the
material for the frames of their best and most expressive pianos.
As may
be well known, steel is much lighter, harder, and more capable of
precise mechanical manipulation than cast or wrought iron.
The
advantages arising from employing this material are therefore apparent.
The tone of this instrument is powerful, round, and even, while the
action is well balanced, and enables the performer to obtain (as
perfectly as any interposed mechanism will allow) nuances of expression
as varied as the violinist produces out of his violin.
And here may be
interposed that a greater perfection of mechanical fitting and of
strength could be obtained if Messrs. Kirkman were to employ some new
kind of steel invented by Sir Joseph Whitworth, who has entirely got rid
of the air-holes which occur in steel castings. The semigrand piano is
made upon a similar mode of construction as the grand. The boudoir grand
is less expensive.
The frame-work is of cast-iron. All the internal
mechanism is thoroughly well executed. Resembling the arrangement
adopted on the Continent, the bass strings, to obtain the greatest
length of string, are strung obliquely above the strings of the alto and
treble clefs of the piano.
This arrangement is not satisfactory, since
it generally affects the tone of the tenor clef, and unless some
compensation is effected in the disposition of the sounding board, by
which a kind of reaction may be created, a twangyness of tone is
noticeable.
Messrs. Kirkman are to be congratulated on having surmounted
this difficulty, since the tone of their boudoir grand piano is
throughout even and pleasant.
The action of each of these three
instruments is a “repetition” one, though, for the matter of that, a
well-constructed action with a medium escapement and good check,
provides, to an average pianist, the means of producing that repetition,
which the soi-disant “repetition” action professes to do for the
beginner or indolent performer."
Journal of the Royal Society of Arts, 1872,
p. 890-891
1879
1884
1885
International Inventions exhibition, South Kensington, London, 1885
The same firm exhibit a cottage case of similar style, also designed by Mr.
Edis. The carved panels show medallion heads of celebrated musicians, the
spandrels being carved with open scroll work. Both the pianofortes in
question are illustrated in Figs. I and 2 on the present and the following
page."
The Furniture Gazette, 01/07/1885, p. 309 -
See also
A speciality of this firm is the steel frame used for grands, which, it is claimed, secures greater purity of tone than the ordinary iron frame." The Athenaeum: Journal of Literature, Science, the Fine Arts, Music and ...,20/06/1885, p. 800
KIRKMAN
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Miniature Grand Pianoforte,
