Grand piano by franz jacob Späth/Spath (1761)

This instrument is at present in the documentation and plan establishment process.

This spectacular instrument belongs to the Heimatmuseum Oberammergau and shows at present the result of a refurbishment to a piano from an original harpsichord, possibly a combination instrument, by an unknown later maker.  This might have been happened in the lates decades of the 18th century. The original state of the instrument as built by Franz Jacob Späth in 1761 obviously has been altered massively. At present the instrument's range is  F' to f3 auf (61 keys); rather typical for this time and might have been original.

Therefore our documentation has multiple tasks: First documenting and identifying the vast decoration in chinoiserie-fashion of the time around 1760 an the exploration of traces of the presumable initial state  and the alterations connected to the remodelling in a piano. But even in its present state this instrument represents an important technical and cultural monument that justifies a detailed investigation.


Ansicht der Front
Ansicht der Front
in: Münchner Wochenblat, 15.Christmonat (December) 1784, [p.2]
in: Münchner Wochenblat, 15.Christmonat (December) 1784, [p.2]

"Klavierflüge zu gewinnen.

Eine Klavierflüge, oder Fortepiano, so von Herrn Späth in Regensburg verfertigt, und mit 2 Manualen, wovon eines mit Kielen, und das zweite mit Hämmern und vier Veränderungen, samt dem dazu gehörigen Gestelle und Verschlag versehen ist, kann auf die den 23. Dezember 1784. zu München vorgehende 573ste Ziehung mittels des ersten Zuges gegen Erkaufung eines Billets pr. 1 fl. [Gulden] 30kr.[euzer] gewonnen werden. Die Billets sind bei Hrn. Emkem Kollekteur in der Knödelgasse* zu haben."

* heutige Hartmannstr. in der Münchener Altstadt

"Grand to win

A grand, or Fortepiano, made by master Späth of Regensburg, with 2 manuals, one of which is provided with quills, the second with hammers and four register, incuding the frame and the appropriate packaging is to be won on the 23rd of December 1784 in Munich at the 573rd auction by the first draw by acquisition of a raffle ticket per 1 fl. 30 xr. Tickets available with Mr Emkem collector at the  Knödelgasse [today Hartmann Str.]"

The front side show visible traces of a rather crude alteration. Presumably the front was sawed off right through the painted decoration and the ornamental socket. It may be assumed that the instrument initially had two manuals, an when it was transformed into a single-manual piano it was shortened by the projecting length of the lower manual, witch was to be  removed.





Obviously not uncommon within the  18th century to get rid of bad sales was to  offer them as a prize in raffles, if they still appeared worthy enough to attract the sale of raffle tickets. A lottery offering a "Klavierflüge[l]s" (Grand) was announced before Christmas 1784 in Munich.  The appraising text seems to indicate that it should appear attractive as a potential Christmas present.

The remark mentioning the packaging shows that the instrument was still packaged as delivered from Späth's workshop, and had not found a serious buyer in Munich.

Although this Munich auction has probably no direct connection to the Oberammergau intrument it gives some hints on how such instruments by Späth were constructed and when this type of instruments went out of fashion (arousing the idea for modernising such an instrument).



 

What kept F.J. Späth busy in the 1760s: building Instruments baand finding a son-in law as a future successor

from D-DRslub Mscr.Dresd,App.3165/3 (Silbermann-Archive), pag. 226-228 (correspondence):

Spath (Franz Jacob)

From Ratisbon. Wrote to me 1755 the 10th of July, since he had a 16' organ[*} in the make for this he needed a perfect organ maker journeyman well experienced in tin work he asked me to send him one, because he is aware that the best of those from any places apply to me for work.

"Von Regensburg. Hat Ao. 1755. den 10then Julii an mich geschrieben, weilen er ein 16.füßig Orgelwerk unterhanden halte, wozu er einen perfecten Orgelmachers-Gesellen, der auch mit der Zinn-Arbeit wohl umzugehen wüßte, benötigt hätte, ersuchte er mich einen solchen ihm zu kommen zu lassen, weil ihm wohl bewust ist, daß sich bey mir die besten Leute von allen Orten in Condition bewerben."

He wrote again 1764 the 28th of July that since he lived through his 50th year and feels his strained forces declining and since he has no male successor but 3 daughters he decided to make a Christian and able man experienced in the organ building art perfectly happy. Since he is convinced that a wide district around Strasbourg is well known by me he would consider it a godly blessing if I could propose him an able subject, at best a disciple of mine.

Aside he mentioned: For god's praise he has again a harpsichord of 2000 Fls. in the making.

"Ao. 1764, den 28. Julii hat er mir wieder geschrieben: daß weilen er das 50.te Jahr erlebet, und seine angespannte Kräften abwerts gehen wollen, Zu diesem keine männliche Succession, sondern 3 Töchter hat, so wäre er entschlossen, einen Christlichen und geschückten Menschen, welcher in der Orgelbau Kunst was rechtes gethan, vollkommen glücklich zu machen. Da er nun glaubet, daß mir ein zimlicher District um Straßburg von Orgelmachern werde bekannt seyn, so nähme ers für eine Göttliche Fügung an, wann ich ihme ein geschücktes Subjectum, am allerliebsten aber einen Schüler von mir, vorschlagen könnte.

Anbey meldete er: Zum Preiß Gottes habe dermalen wider ein Clavessin von 2000 Rfs in Arbeit. //"

In the same year 1764 the 11th october he repeated his previous desire and that his first daughter is just 14 years of age, he would be pleased if he knew a good man who knew to play the keyboard well, is inclined to inventing,to learning to make a nice pipe, to tuning and voicing. He knows a young organ maker journeyman who had worked for him once, but is worthless in playing having some urge to perfection in the organ building art. With him he could not offer the right opportunity. Therefore he would like to share the idea with me such a man to provide his faithful service, right now working in Saxony would be flattered to get lucky with asf.


"Im nemlichen 1764ten Jahr unter dem 11.t October widerhohlte er sein voriges Verlangen, und daß seine größte Tochter erst 14. Jahr hat. Er wäre Content wenn er einen jungen Menschen wüßte der ein gutes Clavier spiele, Zum Inventieren inclinierte, eine nette Pfeiffe machen, intoniren und stimmen lernte. Er wüßte einen jungen Orgelmachers-Gesellen welcher ehedesten bey ihm in Condition war, allein im Clavierspielen ist er nichts,  hat einen Trieb in der Orgelmacher Kunst sich zu perfectionieren. Bey ihme aber wäre die Gelegenheit hiezu nicht. Er wollte demnach mir die Vorstellung theilen etliche Jahre Jahr einen solchen Menschen  beynebst seiner treuen Dienst, providiren zu laßen, er stünde dermalen in Sachsen in Arbeit, und flattirt sich bey ihm sein Glück zu machen &c."

In 1774 the 12th of December he politely wrote another letter reporting that the  Lord had sent him with all his business sent an able son in law organ maker's son from Heilbronn on the Neckar by the name of Schmahl. He also noted that this one had called at my blessed brother's in Dresden received with honour also offered work but because of my notification, my son sadly could not provide.

To date he has another daughter ready to marry he wishes an able artisan of our profession for.

This letter he signed Spath & Schmahl.

This artist makes a horrible fuss about his harpsichord work to be seen p. 226. A duke of Waldburg who visited us 1777 has seen his instruments and could not join in the praise.

"Ao 1774 d 12 Xbris schrieb mir Do. Spath wieder einen höflichen Brief worin er mir Bericht ertheilte, daß ihm Gott bey seinen vielen Geschäften einen geschickten Tochtermann Namens Schmahl Orgelbauers Sohn aus Heilbronn am Neckar bescheret. Er meldet anbey: dieser hat Just dero seel. Herrn Bruders  in Dreßden seine Aufwartung gemacht // alda alle Ehr empfangen, ist ihm auch Condition angeboten worden, allein wegen meinem Verschreiben, bedauerte mein Hr Sohn. daß er nicht von konnte providiren.
Er hat dato noch eine heurathsmässige Tochter, deren er auch einen geschückten Künstler von unserer Kunst wünschen möchte.
Diesen Brief unterschrieb er Spath & Schmahl.
Dieser Künstler macht von seiner Clavessin-Arbeit, wie pag.226 zu lesen, erschröcklichen Wind. Ein Herr von Waldburg, der 1777. bey uns war, hat seine Instrumente gesehen, und will nichts rühmliches davon sagen.
"

"


* In all likeliness the organ of Regensburg Dreieinigkeitskirche Trinity.


Orgel Regensburg Dreieinigkeit, 1760
Orgel Regensburg Dreieinigkeit, 1760

Fascination in combination

in: Hiller, Wöchentliche Nachrichten von der Musik 1770
in: Hiller, Wöchentliche Nachrichten von der Musik 1770


_____________________________________________________________________________

Regensburg.

We have been asked to publish the following letter from there. We wished, and so might the reader, that the author would have made his intentions a bit clearer.

Since it appears worthy to reveal to a benevolent public the newly invented action without hammers or quills which has been produced by the author in the so called Clavecin d'Amour this is done and we herewith assure that this already very popular instrument by its internal perfection, its worth and durability has been very much enriched but also offers the skilled player by the different pressure multiple delicate, tender, partly penetrating too, but silvery sounds receiving the most perfect pleasure and admiration, thus this beautiful instrument of one manual with 8 to 10 mutations should excel of all harpsichords and pantaleons [pianos] the more in regard of its tender treatment since a very low effort of tuning is required, so the player has with a lot of charm the stirring fully at his avail. The price is 30 to 40 ducats.

But for achieving an even higher grade of perfection in musical pleasure the author produces these Clavecins d'Amour also with two manuals (or keyboards) above another, the lower being the popular harpsichord, the upper the so called Clavecin d'Amour, including a most natural sounding Flauto traversiere most beautifully. Connaisseurs and those who look for their delight in solitary divertissement on those instruments, will find their perfect satisfaction even more as they 'll find 50 of the most beautiful mutations. the author but hopes to find the applause that has driven him to take care for even greater perfection of his so popular as well as far spread instrumentents and to find acclaim of a honoured public by quick delivrance.

Franz Jacob Spath.

citizen, organ and instrument maker

in Regensburg.

_____________________________________________________________________________

Comment:

This "Clavecin d'amour" mit "neuerfundene[r] Tangirung ohne Hämmer und Kiele" is possibly the first record about the existence of the tangent piano and thus deserves interest. The term "... d'amour/d'amore," familiar to a musical public by Viola d'amore, Hautbois d'amour, Flauto d'amore, Clarinetto d'amore etc. obviously created a positive association of a tender and sweet timbre, charming sound and emotional appeal and was to bring special attention to the newly invented instrument, but rather was forgotten even sooner than the instrument itself. The not identical "Cembal d'amour" by Gottfried Silbermann, a clavichord with strings of double length struck by tangents exactly in the center, had a similar fate.


In those years Johann Andreas Stein also worked at similar conceptions.

(Hiller, Anhang zu dem dritten Jahrgange der Nachrichten und Anmerkungen, die Musik betreffend, Leipzig 1769,pp.32, 40.)

"... An able organ and instrument maker, at the same time organist at the lutheran greyfriars' at Augsburg, Mr Johann Andreas Stein has worked at the improvement of deficiencies of the pianoforte for a decade, and produced an instrument, which is much admired and praised by experts. //

The somewhat dull tone of the fortepiano gave Mr Stein the idea to add a sharp rank to it and conjoin  the harpsichord with the pianoforte. This conjunction, however, only consists in nothing more than both can be coupled together on one keyboard. because each has its own body abd strings. It id therfore not of the kind where hammers and quills have one set of stringd in common and produce a horrid music since striking with hammers requires quite a different measure and strings than quills. So it is two instruments in one separated in the middle by a board. The upside instrument is common harpsichord with four choirs of whidh three strings are in 8' unison, one giving a smooth 16'; the central and upper manual work this, the first all of them together, the other but one 8' alone. The lower instrument is the pianoforte and its make is arranged thus that it foms the base of the instrument. The string facing downward. The lid covering them opens in a shallow decreasing line rectangulat to the ear, by which the sound waves are reflected to the ear so well as if the instrument stood upright. The third and lowest manual works it and playing is so easy that every hand can manage comfortably.

The mechanism is so simple that it only consist in two small pieces. in a tangent and little hammer of extraordinary ease. The readiness can be seen since the hammer has to travel but a space of 3½ Paris inches. The slightest pressure on the key touches the strings and the strongest does not overdrive them, a critical feature.


Who did this remodeling when? "Round up the usual suspects!" but who might be the "usual suspects"?

"Modernisations"like what happened here were obvously bot uncommon despite  any statement to the opposite. The clearly visible proceedings differing from Späth leads to the assumption that  Späth&Schmahl did not do it, but someone who was basically familiar with the techique and functionality of a piano but does not stick to the well-known workshop traditions of the time.

That the generation of disciples of Silbermann, Späth, Friderici, and Stein had no scruples to do such conversions, shows an advert by a rather unknown ex-apprentice or journeyman, Johann Georg Kuppler, in the Bayreuther Zeitungen,  27th March 1786, who would not omit to introduce to the public all his experiences and what he had learnt at his masters Stein and Friederici.

An das musikalische Publikum.

Einem verehrungswürdigen musikalischen Publiko macht der aus Speyer gebürtige und dahier sich eta-//blirte Instrumentenmacher, Johann Georg Kuppler, welcher seine Kunst bey den zwey berühmten Künstlern Hrn. Stein in Augsburg und dem verstorbenen Hrn. Friderici in Gera erlernt hat, hierdurch bekannt, daß bey ihm folgende Clavier.Instrument um billigste Preiße neu verfertiget werden, als, Clavichord's von verschiedenen Sorten, Fortepiano's, sowohl Flügel- als auch Klavierförmige, Melodica und Vis a Vis-Flügels. Güte des Tons, Fleiß und Dauer sowohl der innern als äußern Structur dieser Instrumente werden zu seiner Empfehlung sprechen, so wie er sich auch allen respectiven Liebhabern durch promteste Aufwartung recommandiren wird; und sich deshalb auf das Zeugnis der hiesigen Kenner berufet, deren Beyfall er in der kurzen Zeit erlangt zu haben, sich rühmen darf. Da auch viele Liebhaber bey jetziger Abnahme und Verfall der bekielten Clavecin's mit solchen Instrumenten versehen oder vielmehr belästigt sind. so können sich solche, (wenn das Corpus noch gut ist) auch in Ansehung einer Umänderung zu einem Fortepiano an ihn wenden, wovon er schon einige mit gutem Erfolg umgearbeitet hat. Finden sich auswärtige Gönner und Freunde, welche Commissiones für ihm übernehmen wollen, so sind sie ihm sehr willkommen, und wird sie aufs Beste für ihre Mühewaltung contentiren. Bayreuth, den 18. May 1786. 

Johann Georg Kuppler.

--------------------------------

To the musical public.

To a hon. musical public the instrument maker Johann Georg Kuppler, born in Speyer who settled here who and learned his art with the two famous artists Mr Stein in Augsburg and the late Mr Friderici in Gera, announces  that he produces  the following keyboards instruments at cheapest price, as clavichords of different sorts, fortepianos in grand as well as square shape, Melodica and Vis a vis grands. Sound quality, precision and durability will speak to his recommendation, as well as he wants to recommend himself to the music lovers by promptest service, insofar as witnessed by the local experts whose applause he thankfully received in the short time of his stay. Since many lovers during present decline and decay of the harpsichord with quills still are provided, or rather bothered and molested with such instruments they can turn to him  (if the body is still in order) to request an alteration into a fortepiano what he has done on some occasions with great success. If any benefactors or friends out of town want to take commissionsfor him they will be welcome and can expect best satisfaction accordingly.

Bayreuth, May18th 1786


Anfang
Ende

Kuppler, who soon after moved to Nürnberg, is not astonishing as a maker of Stein's recent inventions Melodica and Visàvis-grand according to his previous personal history but by his frankness discussing the differing musical tastes of the 1780s and his offers to the music lovers "molested" by their old harpsichords directly - and Kuppler's readiness to alter it into a pianoforte  to meet new expectations. He certainly was not the only instrument maker of his generation who had such ideas and offered them to his clients.

What was played on it?

The period around 1760 had a remarkable increase in new keyboard music. Unfortunately there are no record preserved what music was played on this instrument at its assumed place Ettal monastery since the music disappeared after the monastery was dissolved 1803  but in  Regensburg where it was built the editor of the local paper the "Regensburger Diarium", regularly advertised the newly published scores availabble at his bookshop.

So he recommended in an advert in No, VII (17th of August 1762), one year after the Oberammergau instrument was built, new music for harpsichord resp. clavichord by Wagenseil, Josef Antonín Štěpan  and [Carl Philipp Emanuel] Bach, recently edited in Vienna and Berlin.  Whether this reflected the taste of the buyers of this instrument is unknown, but it certainly met the majority taste of contemporaries.

Inserat R.er Diarium 1762
 
 
 
ms. signature (on the wrest plank)
ms. signature (on the wrest plank)
Seal on the wrest plank
Seal on the wrest plank
external signature 
external signature

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