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[[File:NeoBechstein Flügel.jpg|thumb|right|Neo Bechstein grand piano at the technical museum Vienna]] |
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'''Neo-Bechstein''' or '''Bechstein-Siemens-Nernst-Flügel''' were a set of [[electric grand piano|electric grand pianos]] that were primarily built by [[Walther Nernst]] in the 1930s. Improvising upon an electrical prototype by [[Oskar Vierling]], it was designed around 1922 <ref name=":2"/> and the first of the set was marketed in 1931 to critical acclaim.<ref name="Schils2011">{{cite book|url=https://books.google.com/books?id=Rewixo7Mv0UC&pg=PA120|title=How James Watt Invented the Copier: Forgotten Inventions of Our Great Scientists|author=René Schils|date=14 December 2011|publisher=Springer Science & Business Media|isbn=978-1-4614-0859-8|page=120|accessdate=16 October 2018}}</ref> The mechanics of the piano was implemented by the [[C. Bechstein]] company and the [[valve]] electronics were created by [[Siemens & Halske]]. |
'''Neo-Bechstein''' or '''Bechstein-Siemens-Nernst-Flügel''' were a set of [[electric grand piano|electric grand pianos]] that were primarily built by [[Walther Nernst]] in the 1930s. Improvising upon an electrical prototype by [[Oskar Vierling]], it was designed around 1922 <ref name=":2"/> and the first of the set was marketed in 1931 to critical acclaim.<ref name="Schils2011">{{cite book|url=https://books.google.com/books?id=Rewixo7Mv0UC&pg=PA120|title=How James Watt Invented the Copier: Forgotten Inventions of Our Great Scientists|author=René Schils|date=14 December 2011|publisher=Springer Science & Business Media|isbn=978-1-4614-0859-8|page=120|accessdate=16 October 2018}}</ref> The mechanics of the piano was implemented by the [[C. Bechstein]] company and the [[valve]] electronics were created by [[Siemens & Halske]]. |
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==Electronic piano== |
==Electronic piano== |
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| ⚫ | Smaller in dimensions than an ordinary grand piano, it measured about 1.4 m in length and belonged to a newer generation of electric pianos that had eliminated the presence of any [[Sound board (music)|sound board]] in entirety.<ref name="Holmes2015">{{cite book|url=https://books.google.com/books?id=0cycCwAAQBAJ&pg=PA29|title=Electronic and Experimental Music: Technology, Music, and Culture|author=Thom Holmes|date=8 October 2015|publisher=Routledge |isbn=978-1-317-41023-2|page=29|accessdate=16 October 2018}}</ref><ref>{{Cite book|url=https://books.google. |
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| ⚫ | Smaller in dimensions than an ordinary grand piano, it measured about 1.4 m in length and belonged to a newer generation of electric pianos that had eliminated the presence of any [[Sound board (music)|sound board]] in entirety.<ref name="Holmes2015">{{cite book|url=https://books.google.com/books?id=0cycCwAAQBAJ&pg=PA29|title=Electronic and Experimental Music: Technology, Music, and Culture|author=Thom Holmes|date=8 October 2015|publisher=Routledge |isbn=978-1-317-41023-2|page=29|accessdate=16 October 2018}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=TZPLDQAAQBAJ&lpg=77 |title=Studies in Musical Acoustics and Psychoacoustics|last=Schneider|first=Albrecht |date=2016-12-26 |publisher=Springer |isbn=9783319472928 |language=en}}</ref> |
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| ⚫ | Thinner and shorter strings were chosen that were grouped into 18 clusters<ref>{{Cite book|url=https://books.google.com/books?id=Rewixo7Mv0UC&pg=PA122|title=How James Watt Invented the Copier: Forgotten Inventions of Our Great Scientists|last=Schils |first=René|date=2011-12-14|publisher=Springer Science & Business Media|isbn=9781461408598|language=en}}</ref> of 5 strings, each of which converged towards a pickup<ref name="Palmieri2004">{{cite book|url=https://books.google.com/books?id=Kr6TAgAAQBAJ&pg=PA120|title=The Piano: An Encyclopedia|author=Robert Palmieri|first=|date=June 2004|publisher=Routledge|year=|isbn=978-1-135-94964-8|location=|page=120|pages=|accessdate=19 October 2018}}</ref> followed by a membrane-less microphone.The oscillations were correspondingly transformed into electrical signals into a varying alternating current which was made to pass through an adjustable electronic circuit comprising of electron tubes, capacitors, resistors et al, that acted as a filter.<ref name=":0">{{Cite book|url=https://books.google.com/books?id=78_ICgAAQBAJ&lpg=301|title=Walther Nernst: Pioneer Of Physics, And Of Chemistry|last=Hans-georg|first=Bartel|last2=P|first2=Huebener Rudolf|date=2007-10-26|publisher=World Scientific|isbn=9789814479059|language=en}}</ref> The filtered signal was then amplified with a three-tube [[valve amplifier]] and broadcast-ed through a pre-built loudspeaker.<ref name=":0" /> |
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| ⚫ | Thinner and shorter strings were chosen that were grouped into 18 clusters<ref>{{Cite book|url=https://books.google.com/books?id=Rewixo7Mv0UC&pg=PA122|title=How James Watt Invented the Copier: Forgotten Inventions of Our Great Scientists|last=Schils |first=René|date=2011-12-14|publisher=Springer Science & Business Media|isbn=9781461408598|language=en}}</ref> of 5 strings, each of which converged towards a pickup<ref name="Palmieri2004">{{cite book|url=https://books.google.com/books?id=Kr6TAgAAQBAJ&pg=PA120|title=The Piano: An Encyclopedia|author=Robert Palmieri|first=|date=June 2004|publisher=Routledge|year=|isbn=978-1-135-94964-8|location=|page=120|pages=|accessdate=19 October 2018}}</ref> followed by a membrane-less microphone.The oscillations were correspondingly transformed into electrical signals into a varying alternating current which was made to pass through an adjustable electronic circuit comprising of electron tubes, capacitors, resistors et al, that acted as a filter.<ref name=":0">{{Cite book|url=https://books.google. |
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But, the absence of soundboard and its substitution by electric amplification also meant a lighter framework and a lighter hammer [[action (piano)|action]], which troubled conventional piano players. This led to the usage of usual-sized hammers which struck a rail and which in turn drove a much smaller ''micro-hammer'' into the string itself.<ref name=":1">{{Cite book|url=https://books.google.com/books?id=Kr6TAgAAQBAJ&pg=PA121|title=The Piano: An Encyclopedia|last=Palmieri|first=Robert|date=July 2004|publisher=Routledge|isbn=9781135949648|language=en}}</ref>The micro hammers were invented by [[Hans Driescher]], a employee of Nernst. |
But, the absence of soundboard and its substitution by electric amplification also meant a lighter framework and a lighter hammer [[action (piano)|action]], which troubled conventional piano players. This led to the usage of usual-sized hammers which struck a rail and which in turn drove a much smaller ''micro-hammer'' into the string itself.<ref name=":1">{{Cite book|url=https://books.google.com/books?id=Kr6TAgAAQBAJ&pg=PA121|title=The Piano: An Encyclopedia|last=Palmieri|first=Robert|date=July 2004|publisher=Routledge|isbn=9781135949648|language=en}}</ref>The micro hammers were invented by [[Hans Driescher]], a employee of Nernst. |
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The resulting sound was noted to be distinctly different from that of an acoustic piano. The absence of a soundboard coupled with the usage of micro-hammers not only led to a reduction in sound-amplification that increased the quality of sound but also lessened damping which led to an increase in its sustaining power.<ref name=":1" /> |
The resulting sound was noted to be distinctly different from that of an acoustic piano. The absence of a soundboard coupled with the usage of micro-hammers not only led to a reduction in sound-amplification that increased the quality of sound but also lessened damping which led to an increase in its sustaining power.<ref name=":1" /> |
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It was one of the pioneer devices to feature a clear demarcation between the musical instrument itself and the loudspeaker, in that the mechanics of the piano were no longer involved in the ''direct'' production of sound, unlike existing electric pianos and also that the quality of loudspeakers were good enough to not have any characteristic sound of its own.<ref>{{Cite book|url=https://books.google. |
It was one of the pioneer devices to feature a clear demarcation between the musical instrument itself and the loudspeaker, in that the mechanics of the piano were no longer involved in the ''direct'' production of sound, unlike existing electric pianos and also that the quality of loudspeakers were good enough to not have any characteristic sound of its own.<ref>{{Cite book|url=https://books.google.com/books?id=Q126DQAAQBAJ&lpg=PA76|title=Between Air and Electricity: Microphones and Loudspeakers as Musical Instruments|last=Eck|first=Cathy van|date=2017-02-09|publisher=Bloomsbury Publishing USA|isbn=9781501327629|language=en}}</ref> It ushered a stage in acoustics-development, wherein microphones and loudspeakers functioned well enough in standalone manner to be exploited for different approaches at the same time (reproducing and supporting).<ref>{{Cite book|url=https://books.google.com/books?id=Q126DQAAQBAJ&lpg=PA78|title=Between Air and Electricity: Microphones and Loudspeakers as Musical Instruments|last=Eck|first=Cathy van|date=2017-02-09|publisher=Bloomsbury Publishing USA|isbn=9781501327629|language=en}}</ref> |
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==Manufacture== |
==Manufacture== |
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The exact number of Neo-Bechstein pianos produced vary widely from an estimate of 150<ref name="Schils2011" /> to about 15-20.<ref name=":2">{{Cite book|url=https://books.google. |
The exact number of Neo-Bechstein pianos produced vary widely from an estimate of 150<ref name="Schils2011" /> to about 15-20.<ref name=":2">{{Cite book|url=https://books.google.com/books?id=UQt6glJEiGsC&lpg=PA159|title=Cathedrals of Science: The Personalities and Rivalries That Made Modern Chemistry|last=Coffey|first=Patrick|date=2008-08-29|publisher=Oxford University Press|isbn=9780199717460|language=en}}</ref> Nernst attempted to negotiate a one-time cash payout for his design but had to settle with a royalty-fee-offer from Siemens and Bechstein.<ref name=":2" /> Two functioning copies exist, one of which is in the [[Vienna Technical Museum|Technical Museum in Vienna]].<ref>{{cite web |url=https://www.technischesmuseum.at/object/neo-bechstein-fluegel|title=Neo-Bechstein grand piano|last1=Haas|first1=Mag. Caroline|website=Vienna Technical Museum|publisher=Technisches Museum Wien|accessdate=19 October 2018}}</ref> The [[Czech Republic|Czech]] [[piano]] manufacturer [[Petrof]], founded by [[Antonín Petrof]], in the town of [[Hradec Králové]], acquired the license for the production of the instrument in 1932.<ref>{{cite book|url=https://books.google.com/books?id=xk45AQAAIAAJ|title=International Piano Quarterly: IPQ.|publisher=Gramophone Publications|year=2001|volume=5-6|location=London|page=49|issn=1368-9770|lccn=97001118|accessdate=17 October 2018|}}</ref> These were named and marketed in similar manner to the C. Bechstein, as the ''neo-Petrof''.<ref>{{cite web|url=https://pianohaus-berlin.com/petrof-klaviere-berlin/|title=Petrof Klaviere Berlin|website=Pianohaus-Listmann|accessdate=19 October 2018}}</ref> |
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==Literature== |
==Literature== |
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Revision as of 07:59, 20 November 2018
Neo-Bechstein or Bechstein-Siemens-Nernst-Flügel were a set of electric grand pianos that were primarily built by Walther Nernst in the 1930s. Improvising upon an electrical prototype by Oskar Vierling, it was designed around 1922 [1] and the first of the set was marketed in 1931 to critical acclaim.[2] The mechanics of the piano was implemented by the C. Bechstein company and the valve electronics were created by Siemens & Halske.
Electronic piano
Smaller in dimensions than an ordinary grand piano, it measured about 1.4 m in length and belonged to a newer generation of electric pianos that had eliminated the presence of any sound board in entirety.[3][4]
Thinner and shorter strings were chosen that were grouped into 18 clusters[5] of 5 strings, each of which converged towards a pickup[6] followed by a membrane-less microphone.The oscillations were correspondingly transformed into electrical signals into a varying alternating current which was made to pass through an adjustable electronic circuit comprising of electron tubes, capacitors, resistors et al, that acted as a filter.[7] The filtered signal was then amplified with a three-tube valve amplifier and broadcast-ed through a pre-built loudspeaker.[7]
But, the absence of soundboard and its substitution by electric amplification also meant a lighter framework and a lighter hammer action, which troubled conventional piano players. This led to the usage of usual-sized hammers which struck a rail and which in turn drove a much smaller micro-hammer into the string itself.[8]The micro hammers were invented by Hans Driescher, a employee of Nernst.
The instrument also had two pedals:-the right one acted upon the amplifier[9] and controlled the volume levels, which coupled with the increased sustenance power of the instrument gave rise to organ-like expressive possibilities[8] whilst the left one generated either "cembalo" or "celesta" sound.[10] The instrument also had a speaker-cabinet fitted with a radio and a phonograph.[8]
Sound
The resulting sound was noted to be distinctly different from that of an acoustic piano. The absence of a soundboard coupled with the usage of micro-hammers not only led to a reduction in sound-amplification that increased the quality of sound but also lessened damping which led to an increase in its sustaining power.[8]
It was one of the pioneer devices to feature a clear demarcation between the musical instrument itself and the loudspeaker, in that the mechanics of the piano were no longer involved in the direct production of sound, unlike existing electric pianos and also that the quality of loudspeakers were good enough to not have any characteristic sound of its own.[11] It ushered a stage in acoustics-development, wherein microphones and loudspeakers functioned well enough in standalone manner to be exploited for different approaches at the same time (reproducing and supporting).[12]
Manufacture
The exact number of Neo-Bechstein pianos produced vary widely from an estimate of 150[2] to about 15-20.[1] Nernst attempted to negotiate a one-time cash payout for his design but had to settle with a royalty-fee-offer from Siemens and Bechstein.[1] Two functioning copies exist, one of which is in the Technical Museum in Vienna.[13] The Czech piano manufacturer Petrof, founded by Antonín Petrof, in the town of Hradec Králové, acquired the license for the production of the instrument in 1932.[14] These were named and marketed in similar manner to the C. Bechstein, as the neo-Petrof.[15]
Literature
- Winckel, Fritz W. (1931). "Das Radio-Klavier von Bechstein-Siemens-Nernst" [The radio piano Bechstein-Siemens Nernst]. Die Umschau. (in German). 35. Frankfurt am Main: 840–843. ISSN 0722-8562.
- Herrmann, Dieter B. (1972). "Walther Nernst und sein Neo-Bechstein-Flügel. Eine Episode aus der Geschichte der elektronischen Musik" [Walther Nernst and his neo Bechstein grand piano. An episode from the history of electronic mu]. NTM series for history of science, technology and medicine (in German). 9 (1): 40–48.
- Schmitz, Hans W. (April 1990). "Der Bechstein-Siemens-Nernst-Flügel. Technische Beschreibung" [Bechstein-Siemens-Nernst wing. Technical description]. Das mechanische Musikinstrument (in German). 16 (49): 21–27. ISSN 0721-6092.
- Supper, Martin; Castine, Peter (3 November 2008). "Peter Donhauser , Elektrische Klangmaschinen. Die Pionierzeit in Deutschland und Österreich (Electrical Sound Machines: The Pioneering Era in Germany and Austria). Böhlau, Wien, 2007. ISBN 978-3-205-77593-5" [Elektrische Klangmaschinen. Die Pionierzeit in Deutschland und Österreich]. Organised Sound (in German). 13 (03). Vienna: Böhlau: 270. doi:10.1017/S1355771808000381.
- "Der elektrische Beethoven" [The Electric Beethoven]. Blätter für Technikgeschichtef technology (in German). 69–70. Technical Museum Vienna: Technisches museum Wien: 117. 2008. ISSN 0067-9127.
References
- ^ a b c Coffey, Patrick (29 August 2008). Cathedrals of Science: The Personalities and Rivalries That Made Modern Chemistry. Oxford University Press. ISBN 9780199717460.
- ^ a b René Schils (14 December 2011). How James Watt Invented the Copier: Forgotten Inventions of Our Great Scientists. Springer Science & Business Media. p. 120. ISBN 978-1-4614-0859-8. Retrieved 16 October 2018.
- ^ Thom Holmes (8 October 2015). Electronic and Experimental Music: Technology, Music, and Culture. Routledge. p. 29. ISBN 978-1-317-41023-2. Retrieved 16 October 2018.
- ^ Schneider, Albrecht (26 December 2016). Studies in Musical Acoustics and Psychoacoustics. Springer. ISBN 9783319472928.
- ^ Schils, René (14 December 2011). How James Watt Invented the Copier: Forgotten Inventions of Our Great Scientists. Springer Science & Business Media. ISBN 9781461408598.
- ^ Robert Palmieri (June 2004). The Piano: An Encyclopedia. Routledge. p. 120. ISBN 978-1-135-94964-8. Retrieved 19 October 2018.
- ^ a b Hans-georg, Bartel; P, Huebener Rudolf (26 October 2007). Walther Nernst: Pioneer Of Physics, And Of Chemistry. World Scientific. ISBN 9789814479059.
- ^ a b c d Palmieri, Robert (July 2004). The Piano: An Encyclopedia. Routledge. ISBN 9781135949648.
- ^ Michael Kennedy; Joyce Bourne (22 April 2004). The Concise Oxford Dictionary of Music. Oxford University Press, USA. p. 510. ISBN 978-0-19-860884-4. Retrieved 17 October 2018.
- ^ "C. Bechstein: The legend lives on" (pdf). Markson Pianos. August 2012. Retrieved 17 October 2018.
- ^ Eck, Cathy van (9 February 2017). Between Air and Electricity: Microphones and Loudspeakers as Musical Instruments. Bloomsbury Publishing USA. ISBN 9781501327629.
- ^ Eck, Cathy van (9 February 2017). Between Air and Electricity: Microphones and Loudspeakers as Musical Instruments. Bloomsbury Publishing USA. ISBN 9781501327629.
- ^ Haas, Mag. Caroline. "Neo-Bechstein grand piano". Vienna Technical Museum. Technisches Museum Wien. Retrieved 19 October 2018.
- ^ International Piano Quarterly: IPQ. Vol. 5–6. London: Gramophone Publications. 2001. p. 49. ISSN 1368-9770. LCCN 97001118. Retrieved 17 October 2018.
{{cite book}}: Cite has empty unknown parameter:|1=(help) - ^ "Petrof Klaviere Berlin". Pianohaus-Listmann. Retrieved 19 October 2018.