Piano Actions

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The action of a piano is the device that transmits the movement of a key to the hammer that in turn strikes the string. Steinway & Sons were awarded numerous patents for developments they made to the action for their pianos.

The action in a piano is a complicated device that transmits the movement of a key to the hammer that strikes the string#. In modern Steinway pianos the actions and the keys for the full keyboard are assembled together such that the assembly can be installed and removed as a unit.

In the diary, William often made mention of new developments with respect to the action for Steinway pianos. In many cases these owed to inventions by his brothers C.F. Theodore and Henry, Jr. Many resulted in patents for Steinway & Sons.(Diary, 1871-2-24; 1877-4-27; 1879-3-18)

Five of the first seven patents issued in the U.S. to Steinway & Sons involved improvements to actions. These were issued between 1857 and 1862 to Henry Steinway, Jr., the third son of the founder of Steinway & Sons. From the time of Henry Jr.’s death in 1865 to the death of Theodore Steinway in 1885, about 14 additional patents involving actions were issued to the Steinways. The changes to the actions and pianos covered by these 19 patents can be summarized as follows:

*Many changes involve detailed improvements to the design of actions to make them perform better, e.g., be more responsive to the touch of the person playing the piano, and repeat more easily and more quickly.

*Some of the patents involve changes to the design of the piano to reduce problems related to swelling and shrinking of wooden parts.

*A few of the patents involve changes to the design of the piano to make it easier to service the actions.

*A group of the patents involve changes to incorporate a sustenuto (tone sustaining) function.

A Steinway brochure of 1877-1878 describes a number of improvements made to actions in their pianos, as detailed below:

“A Metallic Tubular Frame Action (patented in 1868 and 1875), being entirely impervious to atmospheric influences, in conjunction with the new system of escapement, resulting in unerring precision, power, and delicacy of touch, and durability.” (2, p. 1145)

*The brochure quotes from the award given to Steinway at the 1867 Paris exhibition as follows: “In regard to expression, delicate shading, variety of accentuation, the instruments of Messrs. Steinway have over those of their competitors an advantage which can not be contested. The pianist feels under his hand an action pliant and easy, which permits him at will to be powerful or light, vehement and graceful.”(2, p. 1149)

*The brochure describes the benefits of Steinway’s patented tubular metallic action frame as applied to upright pianos as follows: “All three styles of Upright Pianos are constructed with Steinway & Sons' “ Patent Tubular Metallic Frame Action.” The result of this invention is the perfecting of an action of such mathematical precision that it can be placed in any Upright Piano of the same style made by this firm, working as perfectly as if it had been specially made for it. In fact, the actions can be changed from one to another, or, in case of an accident to one of them in any part of the world, a perfect action can at once be forwarded to supply its place, the whole machinery of inserting the action being the placing of it in four metal sockets, and turning the four screws which secure the action directly to the Iron Frame - all of which a child could do with ease and safety. The action is as compact and unchangeable as the iron frame itself; for where in other instruments the whole mechanism rests upon wooden bars which are liable to atmospheric influences, this is sustained by brass tubes filled with wood, which are of immense strength and can not be injured or affected. The compact solidity of the construction produces a corresponding firmness and precision in the action itself, together with rare promptness of the dampers, placing at the disposal of the player an action in every respect equal to that of the best Concert Grand.”(2, p. 1168)

“Patent Independent Detached Pilot and Metal Standards, applied to the action of all Grand Pianos, producing highest possible degree of perfection and durability, and obviating the difficulty formerly existing, that repairs to the action of a Grand Piano could not be made without the entire instrument being sent. Secured by Letters Patent No. 93,647, dated August 10th, 1869.”(2, p. 1171)

“Patent Regulating Action Pilot, applied to all Grand Pianos. This improvement serves the double purpose of isolating the metal tubes from the key-board (so that the Action can be transported separately, without the case and key-board) and greatly adding to the precision and power of the Action, there being absolutely no loss of power by friction. Secured by Letters Patent No. 170,645, dated October 20th, 1875.”(2, p.1172)

*A quote in the brochure from a tribute written by Mme Annettee Essipoff reads as follows: “The action is perfection itself, responding with equal promptitude to the most delicate or powerful touch, and under the severest trials its wonderful precision, elasticity, and power remain unchanged, enabling the boundless resources of the Steinway piano to be fully unlocked, according to the inspiration of the artist.”(2, p. 1181)

Fanny Morris Smith, in her 1892 book, has a number of comments regarding actions in Steinway pianos, as follows:

*With regard to where hammers hit the strings in pianos, Morris notes that “The usual striking-point is at one eighth or one ninth of the string-length -- even less in the extreme treble. This matter is so important that there is an arrangement in Steinway pianos by which the entire mechanism of keys and action can be moved forward and back in the treble. The proper striking-point of the hammers on the string is thus secured with perfect exactness.” (3, p. 62)

*Upon the security of position and the accuracy of the motion of the hammers in their frame depends the equality of the tone, no less than the durability of the action. Cheap pianos fail here most conspicuously. In the old system of securing the hammer-butts on wooden frames, even the most careful preparation and choice of the wooden bars could not prevent their warping and swelling under climatic influence. The actions in Steinway pianos lie upon a metal frame, whose hollow tubes are filled with hard wood, forced in under great pressure. Into these tubes the screw-holes for the trains of actions are accurately bored. But the great expense of the expedient prevents its adoption in cheap pianos. (3, pp. 65-66)

*So, too, the difference between the original Erard grand action and the simplified and improved Steinway action in the piano arises from the application of mathematics, to the solution of the questions involved. Each of the changes by which Theodore Steinway advanced to sufficient lifting-power without making the weight heavier, rests upon exactly such scientific considerations as enter into the calculations for astronomical measurements, or architectural and engineering projects. (3, p. 154)

Dolge in his 1911 book notes that “While it is true that since the simplification of the Erard action by Henry Herz no radical changes of merit can be recorded, many detail changes and improvements have been made in the mechanism, which are in the line of progress and permit of a more subtle manipulation of the keyboard and pedals than would be possible without them. Rather important improvements have been made to protect the action against atmospheric influences, and to assure greater durability in general, such as the metal flanges in upright actions, the metal tubes for the protection of the wooden rails, and many others.” This quotation surrounds a figure of Steinway’s Tubular Metallic Action Frame of 1866. (1, p. 85)

In summary, as evidenced by the enthusiastic endorsements of many piano virtuosos, the actions developed by the Steinways have performed excellently. In addition, the changes they made resulted in pianos staying in tune longer and more reliably.
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Sources:
1. Dolge, Alfred, Pianos and their Makers, A comprehensive History of the Development of the Piano, New York: Dover Publications, 1911.
2. Hutchinson, Thomas, Compiler, The Lakeside Annual Directory of the City of Chicago Embracing a Complete and General Directory, Chicago: Donnelly, Loyd and Company, 1877-1878.
3. Smith, Fanny Morris, A Noble Art, Three Lectures on the Evolution and Construction of the Piano, New York: De Vinne Press, 1892.