© Tilman Skowroneck 2014, updated 2 May, 2016
My book Beethoven the Pianist ends (more or less) where Beethoven’s piano music arguably becomes most interesting for many people: his late period. So there was no place to discuss his famous Broadwood grand from 1817 in it. I have now published a new article about this instrument: how Beethoven used (or did not use) it, its state of repair (or disrepair), its modernity (or lack thereof) and the various ways that Viennese instrument makers interacted with the instrument and its owner.
In my article, I offer a thorough investigation of the available sources and sort out a number of contradictory claims of the secondary literature. I try to give credit, especially, to the piano maker André Stein for putting the piano back in order rather more frequently, and apparently in a more sympathetic spirit, than a casual glance at the documentation suggests. I include a discussion about Beethoven’s late work and the problem of conflicting keyboard compasses.
The article “A Brit in Vienna: Beethoven’s Broadwood Piano” with a postscript by Tom Beghin “Beethoven’s Broadwood: A Construction Project” can be found in the Yearbook of the Westfield Center for Historical Keyboard Studies,
Keyboard Perspectives Vol. V/2012, pp. 41–82