February 2017

2017 PTA Convention and AGM venue, 11 to 13 MayMercure Shrewsbury Albrighton Hall Hotel & Spa, Shrewsbury

A Treasured Broadwood Piano

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Editorial — 4President Writes — 5Membership News — 6PTA Annual Convention and AGM Programme — 8Newark College & PTA Open Day — 10Situation Vacant at Newark College — 12Review of ‘Argerich’ — 13Patron’s News — 14

Ludwig Meister? — 15

Press Notice — 18

Images from Piano History — No 13 — 20Europiano Delegates Meeting/Autumn Dinner — 21

Piano Picture Puzzle — 22Codeword Solution — 24

Letters to the Editor — 25

Council Report — 26PTA Useful Contacts — 26

PTA Diary of Events — 27

The next deadline for PTA News is: Friday 24th March 2017.PTA News is the Newsletter of the Pianoforte Tuners’ Association. All views expressed are

those of the contributors, not necessarily reflecting those of the PTA or the editorial team.Please send items for publication to ‘The Editor’, preferably via email with photographs sent

separately from the text. Posted items can only be returned if accompanied by an SAE.Please obtain the necessary permission before submitting copyright items.

PTA News, 49 South Hamilton Street, KILMARNOCK, KA1 2DTEmail: ptanews@pianotuner.org.uk

To advertise in PTA News, at very reasonable rates, please contact:Mr Stephen Venn, 96 Anmore Road, Denmead, WATERLOOVILLE PO7 6NT.

Email: advertising@pianotuner.org.uk

CONTENTS

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Please note the correct spelling of Ted Wicking’ssurname here and not as was printed in the secondparagraph of the Letter to the Editor on page 16 of theDecember issue. My apologies to Mr Wicking.

Our cover photograph shows an instrument in which was hidden ‘Treasure’— quite a substantial find in fact. The PTA has been approached to see if any

Member can shed light on previous owners (including heirs or successors) ofthe instrument; all the details are on page 18.

It is always pleasant to receive letters from anyone and it is no exceptionthis time to have an open letter to the PTA from John Lord (p10), particularlyas he invites the PTA to visit Newark College on March 22nd. I hope thatmany of you will make the effort to attend, meet the students and see thefacilities first-hand.

I’m delighted to be able to feature (p14) one of the PTA’s Patrons,Cavendish Pianos, whose photograph appeared in the Times and the Telegraphon Saturday 14 January 2017. Thank you to Cavendish Pianos, photographerLorne Campbell and the Guzelian Agency, and News UK for permission toreproduce their material here. Thank you also to Nigel Polmear for sending methe newspaper cutting.

Again I’m indebted to Peter Crunden for another very interesting article(p15); this time about the Ludwig Meister upright piano. Peter finds suchfascinating subjects which he then writes about in an engaging way that youjust have to read the entire piece in one sitting. Please follow Peter’s lead andwrite an article for the Newsletter!

I apologise to Dr Laurence for my typing error in his “Images from PianoHistory No 12” from last December. The correct text is on page 20.

The December issue saw a challenge from Bob Morgan with his Codeword;the solution to this exceptionally well-crafted but tricky puzzle is on page 24.

Useful PTA email and telephone numbers are to be found on page 26 andthe PTA’s Diary of Events (on the inside back cover) now includes the datesof Executive Council Meetings.

As always, articles, letters and photographs for PTAN are always welcome.

EDITORIALANNE BURTON

DEADLINE FOR PTAN ARTICLES: FRIDAY 24th March 2017 Articles, letters and photos to: ptanews@pianotuner.org.uk or to address on page 3.

Please email photographs and text separately.

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THE PRESIDENT WRITESANNE BURTON

At the start of this New Year I would like to say thankyou publicly to all our Patrons who have continued theirpatronage of the PTA again this year and also thank generousMembers and Honorary Members who give the PTA a donation over andabove their Subscription. As an Association we are grateful to receivesponsorship and assistance in many other forms, and without this help, the PTAwould not be able to offer a varied yearly programme of events. News fromour Patrons is always welcome; please do send me articles for the Newsletter.

By now you should have received the brochure for the 2017 Annual PTAConvention & AGM to be held at the Mercure Shrewsbury Albrighton HallHotel & Spa, Shrewsbury, 11 to 13 May. The programme of Technical Classesis reproduced on page 8 and even as I write this, some classes are alreadyalmost full. If you have not yet returned your application form, don’t delay itany longer in order not to be disappointed in your first choice. There is asignificantly reduced rate for Students who are currently in full or part timepiano technology education and I’d urge Students to whom this applies toconsider the benefits that attending a Convention can bring.

We will soon have a new Forum which will be linked to the website.Details will appear in the next issue of PTA News and on the website.

For simplicity in writing or due to word length constraints, sometimes I’veused the terms ‘PTA Members’ or ‘Members’ but frequently the intention isfor all categories of the PTA Group to be included. In future, I’ll use the termPTA Group when I mean to include everyone.

I’d like to clarify that the Student initial £10 payment is to cover the timespent in training as stated on your application form. At the end of this period,Student subscription fees apply. There is a maximum term of 5 years that youcan be in the PTA Student category within the PTA Group. Therefore, e.g. fora three year course, the £10 would last for three years after which two years ofStudent subs become due (currently £80, reduced rate £65). Students must theneither apply to take the PTA Membership Test or become an Associate.

Please note that the Scottish Autumn Dinner, to be held after the EPDelegates Meeting on Saturday 11th November 2017 (details p21), coincideswith the Remembrance Day celebration weekend. Anyone in the PTA Groupwho intends to attend the PTA Events this weekend will be advised to bookearly to secure accommodation in Stirling.

Anne BurtonPTA President

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MEMBERSHIP NEWSANNETTE SUMMERSAn application to become a PTA Member has beenreceived from:

Mr Daniel J Evans11 Warten RoadRAMSGATEKentCT11 8BLTel: 07985 469628Email: bookings@danevanspianotuner.co.uk

We welcome new PTA Student:

S1394 Mr Andrew D Higson 14 Briargate Cotgrave Notts NG12 3NT Tel: 0115 989 4253 Mob: 07710 516042 Email: andrewhigson62@gmail.com

Please note these changes to the 2015/2016 Yearbook:

HT1082Mr D P Martin (mobile and email remain the same) 1 Covent Garden Close

Borrowash DERBY DE72 3UR

1231 Mr Finlay Fraser (telephone and email remain the same) 15 Croft Gardens Lenham MAIDSTONE Kent

ME17 2QE

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1197 Mr S Liddell (telephone numbers remain the same)Elrig Cottage

Glen ShiraINVERARAYArgyllPA32 8XH

1201 Mr J J Taylor (telephone, email and website remain the same)14 Churchill WayLong HanboroughWITNEYOxon.OX29 8JH

S353 Mr S Haynes (mobile and email remain the same) 33 Queens Lea WILLENHALL

West Midlands WV12 4JA

S365 Mr Paul S Mill (new address and email) 4 Osborne Street HEBDEN BRIDGE West Yorkshire HX7 8BE Email: pmillpiano@gmail.com

S1354 Mr John Murphy (new address and telephone number) Sea View Tara Hill GOREY Co Wexford Irish Republic Tel: +353 8606 52132

Please send all changes of address, telephone and email to The Secretaryusing the contact details on Page 27.

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ANNUAL CONVENTION AND AGM 2017TECHNICAL CLASSES PROGRAMME

Above is the Technical Class Programme for 2017. Completed applicationforms must be returned to Mr Andrew Jamieson by 1st March 2017.

The Evening Entertainment includes a charity tool auction on the Thursdayevening and a piano recital given by Matthew Ash, sponsored by Kawai UK,on the Friday evening. H J Fletcher & Newman are very kindly sponsoring aGolf Competition on the Wednesday prior to the start of classes and the PucketTournament which takes place during the Thursday and Friday.

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PTA Convention 2017 Exhibitors and SponsorsBroughton Pianos,Caradine Pianos,

H.J. Fletcher & Newman Ltd.,Gavin Hartley (Toolmaker),

Inventronics,Kawai UK,

Pianoforte Marwood Ltd.,Stuart Jones Pianos,

Renner,Vale Pianos,Yamaha UK

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NEWARK COLLEGE — PTA OPEN DAYAND OTHER RAMBLINGSBY JOHN LORD

Dear All

It is some time since I last communicated with the trade at large and felt itwas probably a good time to say a few words. Most importantly, to extend anopen invitation to all PTA Members to a Newark College PTA Open Day onWednesday 22nd March. Please do try and make this a date for your diary;more on this later.

I don’t know where the years go, but, as is our way at Newark, we havebeen quietly “getting on with the job” as ever, and it seems incredible to thinkthat this year sees our forty-fifth birthday. Equally, on a personal note,I (somehow?) find myself in my twenty-seventh year at the College, and it isyet more surprising still to think it is now some ten years since we became partof the larger Lincoln College Group. Furthermore, it is now two and a halfyears since we moved out of the old Mount Annexe into our ‘new’ fantasticfacilities. Having been at the Mount for so long, we still think of our currentAppletongate Piano School as new at the moment.

Continued existence of the course has been anything but straight forwardon many occasions over the years — I think I could write a book about thetrials and tribulations of survival! However, you will be delighted to know thatNewark continues to thrive and go from strength to strength: strong numbers,great groups, excellent results, and most important of all, a high percentageof successful placements into the ‘real world’ of jobs.

With regard to the above, many examples spring to mind from the fantasticcohorts we have had over the last few years. We have people working with,for example, Coach House Pianos (Swansea), Clement Pianos (Nottingham),Pianos Cymru, Besbrodes (Leeds), and Stewart Jones Pianos of Newtown,to name but a few, whilst another leaver from last year has recently picked upthe monthly tuning of Paul Weller’s studio piano whilst he records his newalbum. Furthermore, our current group already has members working forYahama UK, Henderson Music of Londonderry, Pianissimo (Granada, Spain),Millers (Cambridge) and Broadwoods. This is, of course, not to mention anumber of increasingly successful moves into self-employment by recentstudents, in such diverse places as York, Dublin and Reykjavik!

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PTA Open Day

We are having a Newark College Open Day specifically for the PTA onWednesday 22nd March 2017. This is further to a very successful visit a coupleof years ago from a delegation of PTA Members, including the then PresidentBrian Frost, Gary Whiteland and Andrew Giller amongst others, who cameand spent a splendid day with our students.

It occurred to me then that it would be beneficial for our students andhopefully for PTA Members alike, to have a general open-door day for theAssociation. This would give the students opportunity to network and chat,whilst allowing Members to see the Newark facilities first-hand. Particularly,as I am aware that many PTA Members did not originally train at Newark,and of the many that did, not here in the new facility.

Format for the day is yet to be finalised, but I envisage it commencing from11.00 am with a fairly loose agenda. We choose Wednesday specifically, as itis the one day in the week when all three year groups are in attendance.I foresee a slightly more formal presentation to the students at some point(as always), and if deemed of interest, a talk by myself to the PTA. I do,however, see much Q and A occurring throughout the day!

It is not pre-requisite or essential in any way, but if we could possibly askfolk to let us know if you intend coming along, it would give us a slight ‘headsup’ in advance on numbers. Probably the easiest way, is to ping an emaildirectly to me at jlord@lincolncollege.ac.uk

Myth Busting — Electronic Tuning Aids

I have come to understand over the last couple of years that my positionregarding the above is not well understood. It appears the common perceptionis that I am some sort of Luddite / Technophobe who will not tolerate the useof technology in any way, shape or form. Please let me make this clear, this isabsolutely not true.

I personally choose not to use ETAs when tuning due to the ‘old dog, newtricks’ scenario, and I am fortunate that my tuning, and in particular myconcert work, is held in high regard (it was recently described as “perfect” byJohn Lill – good enough for me!). I do, however, understand the use oftechnology and the role it has to play: pitch-raising, for example, has neverbeen easier or less stressful. My stance however is quite clear.

We continue to teach traditional, aural tuning at Newark as we have alwaysdone. It is strongly my opinion that ETAs are simply a tool that can be used bytechnicians like any other tool in their kit. However, to use them to obtainoptimum results still requires a good understanding and know-how of what is

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trying to be achieved in the first instance. Basic tuning technique andunderstanding of beats, scale structure, octaves, unisons, etc. underpins all ofthis, and is essential in maximising results.

The above has been ably borne out to me on occasions before, where I haveencountered people who, incredibly, have not been able to tune WITH amachine! Their slender grasp of the basics has prevented competent use of thedevice but, and I quote, “I am using a machine and therefore it must be correct.”If only they would listen (primarily to the piano!)…

Finally...

Thank you for bearing with me and allowing me to say, what has turnedout to be, more than a few words. Ironically, I have found that the more I havewritten, the more I have thought to say under yet more headings — maybethese will keep for another time. I hope there has been something of interestin the above, and perhaps it will help develop discussion at the open day inMarch. Please make every effort to attend and we look forward greatly towelcoming you all on Wednesday 22nd.

Kind regards to all

John Lord

PART-TIME TUNING TEACHER REQUIREDAT NEWARK COLLEGE

We currently find ourselves in the position of having some teaching hoursavailable should anyone be interested. The post is specifically for the teachingof piano tuning only, and as the timetable currently stands, involves theteaching of final year students (although this could feasibly change).

The position has come about as a result of one of our colleagues having torelinquish his role due to his other commitments becoming too great, includingfull-time appointment as head technician at the Birmingham Conservatoire.We then had a wonderful replacement lined up, but unfortunately he too, in theevent, couldn’t commit to continue.

Should you be interested, please contact me on:jlord@lincolncollege.ac.uk

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REVIEW OF ‘ARGERICH’BY TANIA STAITE

I turned up to a client’s a while back and above thepiano was a poster with a photo of the most exquisite youngMartha Argerich (taken in the sixties); jet black hair; her almost as black,soulful eyes looking directly into the lens of the camera; cigarette in left hand;smoke wafting up into the air.

I discovered to my delight that her daughter, Stephanie (a professionalfilmmaker) had made a documentary about her mother and it just so happenedmy client’s company was distributing the film in various art houses in London.

Having been mesmerised by Argerich’s virtuositysince 1979 (when, as a music student I had the fortuneof attending a rehearsal at the Festival Hall andmeeting Argerich afterwards), I was thrilled at theprospect of seeing a documentary made by her owndaughter, so took myself off to the Curzon cinemain Bloomsbury.

I was not disappointed; it was indeed an intimateand affectionate portrayal; one that would not havebeen possible, had the documentary been made byanyone other than her own child.

Stephanie is the youngest of Martha Argerich’sthree daughters (all by different fathers) and she was

given a cine camera as a young child. Consequently there are somewonderfully spontaneous scenes that only a small child could have captured.

Argerich is clearly a Bohemian; opting for communal living; her homeramshackle, but ‘the door always open to new arrivals’…….. ‘in our housealmost anything went,’ her daughter tells us. Apparently, Argerich’s middledaughter rebelled by going to school! Certainly, what comes across is awoman who has remained youthful by surrounding herself by young peopleand encouraging young talent. This can be no better demonstrated than whenI saw her perform at a prom at the Albert Hall, with Claudio Abbado and theEuropean Youth Orchestra; only a year before Abbado died. Havingperformed the Ravel G major concerto before the interval, instead of headingoff with her entourage, to lap up the adulation, Argerich hung around and justbefore Abbado raised his baton in the second half, she crept up to the top ofthe ramp (where the performers enter the stage) and stood; watching the youngmusicians playing for the whole of the second half.

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Stephanie is also candid about her awkward relationship with her father,pianist, Stephen Bishop (formally known curiously as both StephenKovacevich and Stephen Bishop-Kovacevich). In fact, this documentaryis also a portrait of her father; a man clearly shadowed by the more talentedArgerich and now (although slightly younger than Argerich) looking frailand vulnerable.

The film ends with Argerich, her three daughters and a toddling grandchild,sitting on a picnic rug in a park; one daughter painting her mother’s toenailsand Stephanie tenderly recalling lying under the piano, watching her mother’sfeet as she practiced; the vibrations of the piano lulling her to sleep.

I would highly recommend this film, not so much because it is about one ofthe greatest living pianists, but because it is a candid portrait of a self-effacingand very natural woman; full of humanity and humour, yet charismatic. It istruly uplifting. Stephanie Argerich states ‘I am the daughter of a goddess’ andcertainly, having seen this portrait of her mother, I am inclined to agree.

Additional note: My client has very kindly donateda copy of the DVD “Argerich” to the PTA Library.

PATRON’S NEWS — CAVENDISH PIANOS

Photograph by Lorne Campbell, Guzelian Agency, with permission

Technician Ken Forrest, above left, works on building a grand pianoat Cavendish Pianos in Bolton Abbey, near Skipton, North Yorkshire.The company is one of the last remaining in England. Only around50 pianos are made in Britain each year.

Text from the Saturday Telegraph, January 14th 2017.

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LUDWIG MEISTER?BY PETER CRUNDEN

Just when you think you have seen it all you comeacross a piano which is puzzling. I took a few photographson my phone (some a little blurred) of a piano sporting the

name Ludwig Meister which might immediately leadone to think that it is of German origin. Unfortunately,the piano was positioned in a narrow corridorin a customer’s house and I couldn’t stand far enoughback from it to take a photo of the complete instrument.

However, this piano has a BPAaction, one can see these letters plainly cast into the actionstandard, but it doesn’t have the characteristic cast blackplastic jacks we tend to associate with later examples fromBritish Piano Actions Ltd, but the hammer rest beam isdefinitely BPA. I’m not saying German piano makers have

never used British made actions, theyhave, but I think not often. The bottomkey is stamped with the date 7th July1962 so maybe this was just prior to the introduction ofthe ‘black jack’. This was probably Alfred Knight’s idea.

The iron frame is a very “rough” casting, the sort of finish I remember fromwhen I was chipping up at the Welmar factory in the early 1960’s. Thatcompany did of course move to smoother finishes a little later. (After I’d left!)Note that the large L M at the bass break is a separatecasting welded to the frame, likewise the Ludwig Meistername above the wrest pins at the extreme treble whichmakes me think the same piano might have been suppliedwith other names to order. I am confirmed in that view bysomeone having pencilled the name Deitman on the outer

side of the bottom A which had the date stamped. There is also the Germanicretailer’s name of R. Muller at the extreme end of the fall which is ratherintriguing.

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Despite having such a basic iron frame the soundboard on the other hand isquite nice, the grain runsdiagonally rather thanhorizontally as can be found insome British pianos of a similarvintage and quality. I amimpressed by the ends of boththe bass and tenor bridges beingsuspended, the tone and soundis very good. Another smallquirk is the back top raising likethat of a grand.

So what nationality is this somewhat hybrid piano? Maybe the pencilledname “Deitman” could give us clue. I think the correct spelling should beDietmann, I believe an employee of BPA wrote the name inaccurately on thatbass key but it didn’t matter as long as all concerned knew where it wasdestined – South Africa in my opinion.

I remember seeing some Dietmann literature two or three decades ago;someone was importing these pianos into the UK. It couldn’t have amountedto many because I can’t remember ever seeing one, although I did recentlytune a Kemble made Chappell with Dietmann cast into the frame.

A country such as South Africa would have had to import specialist partsfor their pianos from abroad and in particular, companies like BPA in thiscountry, then assemble them. Likewise with Brazil that I mentioned in my lastjournalistic effort, at least some of their pianos were fitted with HerrburgerBrooks actions. How ironic then that we have allowed the demise of our coremanufacturers and Britain now has to import what it once exported!

My Pierce Piano Atlas says:“Dietmann Est 1955 Federale Telectra Ltd, Cape Town, South Africa,

assembly factory located at 47 Bain St, Wellington, Republic of South Africa.In 1985 the Kahn Family acquired the company, Headquarters now at DallasTexas. Piano components made in Germany and assembled in South Africa.Other names used on pianos are, Bernhard Steiner, and Otto Bach”.

I can’t find the complete Ludwig Meister name anywhere in the Atlas.I imagine that there must have been German males christened Ludwig Meisterbut the vibe I get is that the name has been contrived, probably becauseGermany has become associated in the public mind with pianos and it wasthought a German name would help sales. Ludwig possibly from Ludwig vanBeethoven, arguably the most eminent of all Germans and Google translatesMeister as Champion. (Yes, I thought it was “Master” too.)

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I have subsequently visited the web and discovered that my guesses appearto be born out although I can’t find anything definite about the nameLudwig Meister.

Below is taken from http://www.classicsa.co.za/ South Africa’s PremierClassical Music Directory – “Phillipp Dietmann, piano factory founder”.This website gives a detailed history of the gentleman, his piano factory andbusiness, although the Ludwig Meister brand is not mentioned.

Remember R.Muller on the fall? There is quite a lot concerning thisgentleman, R.Muller had been closely involved with Dietmann pianos fromtheir earliest beginnings (1903).

“PD: At that time, farmers requested Mr. Richard Müller to import GermanPianos which he then purchased from the world famous German factory,August Förster. In order to service these instruments, he requested a technicianto be sent to South Africa and also to run the Piano Division. My fatherworked at the mentioned factory as a piano tuner and technician andvolunteered to come to South Africa.”

Most of my hunches seem borne out by what I found on the web, I am ofthe opinion that this Ludwig Meister piano is from South Africa, made up ofparts from elsewhere. Maybe others can shed more light on this instrument.

The back top raisedlike that of a grand.

The full name ofLudwig Meistercast separately andwelded to the frame.

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An inquest was opened today by H.M. Senior Coroner, Mr. John Ellery atShrewsbury Coroner’s Court, in relation to a substantial find of potentialTreasure recently discovered within a piano in South West Shropshire. The findwas swiftly reported by the new owners of the piano and was deposited atLudlow Museum Resource Centre / Shropshire Museums before Christmas.The coroner commends all parties who have to date provided him with valuableinformation and co-operation in this case.

The finds are highly unusual in nature being substantially made of gold andappear to have been deliberately hidden within the last 110 years. An inquesthas been opened to determine whether the hoard qualifies as Treasure underthe terms defined by the Treasure Act (1996).For a hoard less than 300 years old to be Treasure, it must be:

1. Substantially made of gold or silver2. Deliberately concealed by the owner with a view to later recovery3. The owner, or his or her present heirs or successors, must be unknown

The inquest will be resumed and concluded at the Shrewsbury Coroner’s Courton the 16th day of March 2017.Anyone with any information about the original owners of the piano and/or ofthe potential treasure, their heirs or successors, should provide this in writing toMr. Ellery at the Coroner's Office for Shropshire, Telford and Wrekin at theShirehall, Abbey Foregate Shrewsbury SY2 6ND.The Coroner will require evidence about:

● the nature of the find (i.e. what it comprises);● how, when, where and why the find was concealed● evidence upon which they can be sure of the ownership by any potential

claimant.All other enquiries regarding the case should be made in the first instance toPeter Reavill, Finds Liaison Officer for Shropshire and Herefordshire,British Museum’s Portable Antiquities Scheme.c/o Ludlow Museum Resource Centre, 7-9 Parkway, Ludlow, ShropshireSY8 2PG Tel: 01743 25 4748 Email: peter.reavill@shrophire.gov.ukThere is no penalty for mistaken claims made in good faith but any false claimsmay be reported to the police for consideration of any offences disclosedPeter ReavillFinds Liaison Officer for Shropshire and Herefordshire,British Museum’s Portable Antiquities Scheme. 12th January 2017

PRESS NOTICE, 12 JANUARY 2017BY PETER REAVILL, FINDS LIAISON OFFICER FORSHROPSHIRE AND HEREFORDSHIRE,BRITISH MUSEUM’S PORTABLE ANTIQUITIES SCHEME.

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Editor’s note:It is known that:

1. Broadwood & Sons of London, as makers of this upright piano, sold it to ashop or wholesaler of music/musical instruments owned by Messrs.Beavan & Mothersole of 27, West Road, Saffron Walden, Essex in 1906.

2. The recent history of the piano has been traced to around 1983, where itwas purchased by a local family in Saffron Walden area.

Should any piano tuner have information about Messrs. Beavan &Mothersole or their descendants, please contact Peter Reavill (contact detailson previous page) in the first instance.

The cache of gold items were reported to Peter Reavill, Finds LiaisonOfficer for the British Museum’s Portable Antiquities Scheme based withShropshire Museums. The objects will qualify as ‘Treasure’ under the terms ofthe Treasure Act (1996) and thus be the property of the Crown, if the coronerfinds that they have been hidden with the intent of future recovery. However,if the original owner, or his or her heirs, are able to establish their title to thefind, this will override the Crown’s claim. The coroner has thereforesuspended the inquest until early March 2016 in order to allow possibleclaimants to come forward.

Full information about the size, nature and value of the cache will berevealed at the subsequent inquest in March and has been deliberatelywithheld to allow the coroner to make all necessary enquiries.

The Broadwood upright piano inwhich a cache of Treasure hasbeen found. Information is soughtto return the valuable items totheir rightful owner.

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IMAGES FROM PIANO HISTORY — NO 13THE HOPKINSON BROTHERSDR ALASTAIR LAURENCE, JOHN BROADWOOD & SONS LTD.

Who are they then? Don’t you know? They were John and JamesHopkinson. The elder brother, John, was born in 1811; his younger brother,James, was born in 1818. Both brothers came from Leeds, West Yorkshire, butmoved their business to London in the mid-1840s. They were joint founders ofthe firm long-known as J & J Hopkinson, piano manufacturers.

And were they skilled piano-making craftsmen of the old school, such asJohn Brinsmead, Justin Browne or Frank Squire? Not really. They weremusicians, professors of music, probably string players, and music publishers.As far as we know, they never did any manual bench work; but they wereobviously very talented businessmen: the company experienced phenomenalgrowth during the period 1845-65.

And so, who was the brains behind the early Hopkinson piano? We believethat it was likely to have been Edward Gowland, their works foreman. He iscredited with the invention of the pressure bar in the upright piano in the year1872. He was known as ‘Big Gowland’, to distinguish him from his piano-making son, also called Edward, who was considerably shorter!

And where are the two portraits today? They are hanging in the stairwell ofa house in Gloucestershire, occupied by the descendants of James Hopkinson,the younger of the two brothers.

Did the two brothers prosper as a result of piano manufacture? Certainly.When John died on the 4th April 1886, he was worth over £20,000. By today’sequivalent values, he was a millionaire. His nephew, James Hopkinson junior,son of the first James, was able to purchase a huge country estate atMonaughty, Morayshire, Scotland, in 1895, all as a result of the family’searnings from piano manufacturing.

So did the Hopkinsons more-or-less desert the family company then? Yes.The last family member to be regularly involved in manufacture was JohnHopkinson of Watford (1845-1919), but his huge life’s interest lay in the fieldof zoology, rather than piano-ology. He had the misfortune to die in his bath —just in case any PTA Members are curious to know!

Please note this correction to the text of Images from Piano History — No 12on page 20 of the December 2016 issue of PTAN:By the time the Fitzroy Road factory was erected in 1866, the firm wasemploying 103 men and 32 apprentices. Not 1043 employees as printed.My apologies to Dr Laurence for the typing error.

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John Hopkinson James Hopkinson

EUROPIANO DELEGATES MEETING ANDSCOTTISH AUTUMN DINNER, STIRLINGBY BRIAN FROST

The PTA is honoured to announce that it will be hosting the 2017Europiano (EP) Delegates Meeting in November 2017 – the first such meetingthe Association has hosted since 2004 in Cambridge. This gives us a rareopportunity to meet and socialise with our European colleagues in a relaxedand informal manner.

The Delegates Meeting, which will take place in the morning of Saturday11th, is for EP Delegates only. The afternoon’s programme for the Delegateswill involve a guided tour of Stirling Castle. In the evening we will all gatherfor a Dinner at the Stirling Highland Hotel. Why not join our EP colleagues aswe tour the fascinating castle and learn about its history and then join us fordinner in the evening? On Friday the 10th November there will also be a visitto a local distillery. All in the PTA Group and their partners are invited to joinus for the distillery and castle visits and the Dinner.

Booking forms will be included in the next issue of PTAN, but if you areinterested in attending this unique event put the date in your diary now.

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PIANO PICTURE PUZZLEBY NIGEL DONOVAN

1 2 3

4 5 6

This one has a theme — one for hardcore puzzle fans as it’s quite difficult.

HOW OBSERVANT ARE YOU?See if you can guess or work out the name of the pianofrom the clues.

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7 8 9

10 11 12

Solutions next issue, but if you can’t wait, send me your answers and I’ll letyou know your score. nigel.donovan@cambridgepianotuner.co.uk

December answers — 1. Strohmenger; 2. Feurich; 3. Welmar; 4. Schiedmayer;5. Zender; 6. Eavestaff; 7. Bohemia (Petrof); 8. Weinbach; 9. Kessels;10. Pearl River; 11. Berry; 12. Pleyel (Pleyel, Wolff & Lyon).

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CODEWORD SOLUTIONPOPULAR SOLOISTS & DANCE BAND PIANISTSBY BOB MORGAN6S

17E

9M

5P

14R

2I

1N

2I

18L

2I

11T

17E

14R

9M

26A

4Y

17E

14R

18L

3G

26A

14R

1N

17E

14R

5P

17E

11T

17E

14R

6S

21O

1N

9M

20U

1N

1N

3G

2I

24B

24B

21O

1N

6S

13C

21O

1N

7W

26A

4Y

18L

2I

24B

17E

14R

26A

13C

17E

25K

20U

1N

15Z

7W

26A

18L

18L

17E

14R

6S

11T

17E

7W

26A

14R

11T

23D

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26A

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13C

22H

2I

1N

5P

17E

26A

14R

6S

21O

1N

24B

18L

26A

13C

25K

9M

13c

3G

20U

12F

12F

2I

17E

25K

26A

4Y

17E

9M

21O

14R

17E

11T

21O

1N

14R

26A

7W

2I

13C

15Z

18L

26A

1N

23D

26A

20U

14R

7W

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18L

6S

21O

1N

13C

21O

13C

22H

14R

26A

1N

17E

16J

20U

5P

5P

26A

11T

7W

17E

18L

18L

26A

18L

23D

14R

2I

13C

22H

11T

22H

21O

14R

24B

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14R

1N

9M

2I

18L

18L

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2I

3G

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6S

7W

8V

9M

10X

11T

12F

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16J

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19Q

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25K

26A

25

LETTERS TO THE EDITOR

Dear Anne,It is with great sadness that I write to advise of the passing of Anthony

Goldstone (1944-2017), an exceptional and talented concert pianist whoperformed and recorded for over 50 years.

I was fortunate enough to work with him over the last 15 years (as werePhil Kennedy and Roger Tostevin). He was a consummate professionaland perfectionist, but by the same measure, reasonable and understandingof our tasks.

A great highlight was when he played for my 50th birthday piano recitalincluding Beethoven’s Moonlight Sonata (my request) and complete Picturesat an Exhibition (his choice) all from memory and sublime.

A good friend and pianist who will be sadly missed.Benjamin E. Nolan

Dear Anne,I would like to make a correction to Robyn Sellman’s PTA Newsletter

report from the December 2016 issue about our Steinway tuning class. In herreport, Robyn has said that assembled groups heard from me about theconstruction of Steinway pinblocks but in actual fact, it was my colleagueDavid Widdicombe who did this.

I only mention this because Dave went to a lot of trouble to put together ascreen presentation (via computer) showing photographs and images ofwrestplank sections from the Steinway, Boston and Essex grand pianos (forcomparison of layers) including an actual cut-away model with wrestpins froma Steinway model D. Dave also touched upon friction points in the Stringingscale like for example, the plate and agraffe.

We wanted to give the reasons and factors that contribute to why theSteinway ‘feels’ the way it does during tuning and on this basis, ‘out across’the tuning method that’s been passed down through the decades and wasshown to us.

It was David incidentally who set up the part of the class entitled‘An introduction to the ‘A’ scale’, giving the reason as to why Steinway tuneto ‘A’ and necessitating in an ‘A’ Scale.

Robyn’s article is very nicely written and although I pointed to a correction,I know that it was just an oversight. However, I think that it’s only right thatDavid is acknowledged for his superb presentation.

Kind regards,Nigel Polmear

26

The Meeting of the Executive Council was held on 28th January,2017 at Robert Morley & Co. Ltd, Lewisham.Present were: Anne Burton (President), Gary Whiteland (Vice President),Annette Summers (Secretary/Treasurer), Tania Staite and Andrew Jamieson(Trustees), Finlay Fraser, Andrew Giller, Shaun McLoughlin, Nigel Polmear(Council Members) and Lewis Flisher (Hon Council Member).The Minutes of the last meeting were circulated and approved.Council decided that there would be no increase in Examiners Subsistence feesfor the present.The Treasurer’s report was circulated, discussed and approved. The PTA’saccounts are now with Accountants Magee Gammon.One new Membership application has been received from Mr D J Evans, Kent.Work on the new stand-alone Forum starts the week commencing 30th January.Council agreed that the PTA will pay the monthly fee of £40 for the PList untilthe new Forum is up and running.Council agreed that production and distribution of the Yearbook would revertback to immediately after the AGM in May.Andrew Giller visited Stuart Kernaghan of Blüthner and is making plans fora Training Day there.John Lord is to host an Open Day for PTA Members at Newark College on22nd March to which all are invited. An open letter and invitation will beprinted in the February Newsletter.The 2017 Convention and AGM Prospectus was sent out to the Membership onFriday 27th January. Completed application forms are due back by 1st May 2017.The Secretary is to update the Application forms.The next Executive Council Meeting is scheduled for Saturday 25th March at 12o’clock at Robert Morley & Co. Ltd., Lewisham.Observers are welcome at all Council Meetings.A full copy of the Minutes is available from the PTA Secretary.

PTA COUNCIL REPORTANNETTE SUMMERS

USEFUL PTA CONTACTS

ptanews@pianotuner.org.uk Tel: 01563 551530secretary@pianotuner.ork.uk Tel and Fax: 0845 602 8796advertising@pianotuner.org.uk Tel: 07803 595915

27

Newark College & PTA Open Day, Wednesday 22 MarchFrom 11am, Friary Road, Newark NG24 1PB

Executive Council MeetingNoon on Saturday 25th March at Robert Morley & Co Ltd, Lewisham

Convention with A.G.M. 2017, 11th to 13th MayMercure Shrewsbury Albrighton Hall Hotel & Spa, Shrewsbury

PTA Training Day, Saturday 24th June 2017Details to follow in the April 2017 PTAN

Executive Council MeetingNoon on Saturday 29th July at Robert Morley & Co Ltd, Lewisham

Executive Council MeetingNoon on Saturday 30th September at Robert Morley & Co Ltd, Lewisham

PTA Scottish Autumn Dinner, Saturday 11th November 2017Stirling Highland Hotel, following on from the Europiano Delegates Meeting

Executive Council MeetingNoon on Saturday 25th November at Robert Morley & Co Ltd, Lewisham

Executive Council MeetingNoon on Saturday 27th January 2018 at Robert Morley & Co Ltd, Lewisham

Executive Council MeetingNoon on Saturday 24th March 2018 at Robert Morley & Co Ltd, Lewisham

Convention with A.G.M. 10th to 12th May 2018,Blackwell Grange Hotel, Darlington

Convention with A.G.M. May 2019Suggestions for suitable venues welcome.

For enquiries, PTA goods, changes of address or contact details:Mrs Annette Summers, PTA SecretaryPO Box 230HAILSHAMBN27 9EATel: 0845 602 8796 Email: secretary@pianotuner.org.uk

PTA DIARY OF EVENTS