STEINWAY & SONS CENTENNIAL CONCERT GRAND PIANO MODEL D, ROSEWOOD (1878, SERIAL NO. 38930)

Pedro I. Garcia-Nunez, M.D., Ph.D. Indian River Shores, Florida, USA 32963-3405

Tel: 772-492-9223 Cell: 305-331-9001 e-Mail: mipela@comcast.com

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IDENTIFYING INFORMATIO AND SPECIFICATIONS

Origin: USA Model: Steinway & Sons Centennial Concert Grand, Model D Year: 1878 Steinway Mfg. I.D. Number: 38930 Case: Rosewood Style: Rococo (Late Baroque) Finish: Semi-Gloss Satin Sheen Built: March 1878 Foundry Casting Date: February 16, 1878 Condition: Restored in 2000-2001 by Harmonia Maestro Ivan Tudor Maximum Length: 8’9” (105 in; 266.7 cm) Maximum Width: 4’9¼” (58 in; 145.4 cm) Maximum Height Closed: 3’2” (38 in; 96.52 cm) Weight: 1,500 pounds (680 Kg) Location: Owner’s private home, Turnberry Isle, Aventura, FL

DESCRIPTION

Historically compelling and technically unsurpassed, this magnificent antique object d'art is Steinway & Sons Centennial Concert Grand Piano, Model D, 1878, Rosewood, Mfg. ID No. 38930. This model was named “Centennial” by William E. Steinway in anticipation of competing at the first official US World Fair, The Centennial International Exhibition of 1876, held in Philadelphia to celebrate the 100th anniversary of the independence of America. The Centennial was awarded best concert grand piano.18, 20, 35

This piano is one of a small number of Centennial Concert Grands that still exist today of a onetime limited edition of 424 19. 35, 54 manufactured by Steinway & Sons in Manhattan during the 7 year period of 1876 to 1883. It is not known how many Centennial Grands exist today. 39

In 2006, only 5 Steinway & Sons Centennial Grands had been documented. 25 Recently an expert group estimated that Centennial grands “cannot number more than 50-100.” 25, 49 In 2007, Shull in collaboration with Kehl 19, 34, 35 considered Centennial Grands to be of the utmost historical importance, which along with the early prototype built in 1869, make up the group of the so-called “Lost Steinway Grands”, whose whereabouts remain unknown. 34, 35

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Soon after their introduction in 1876, Centennial Grands sold-out and became one-of- a-kind” collectors’ treasures sought out worldwide due to their uniqueness, beauty and musicality, and due to their historical and engineering importance. 23

At present, Steinway & Sons Centennial Concert Grands are exhibited in museums around the world, some of which are listed below:

The Richard Wagner’s Bayreuth Festival Theatre Museum (Richard-Wagner-Festspielhaus) in Bayreuth, Bavaria, Germany (Wagner’s Serial No. 349xx) 4, 36

The Cantos Museum, The Cantos National Music Centre, Cantos, Calgary, Canada. 23. 50

The Fort Crawford Museum of the Wisconsin Historical Society at The Villa Louis, Prairiedu Chien, WI 53821; 23, 48, 49, 60

The Fredericks Museum: The Fredericks Historic Piano Collection. Ashburnham, MA01430 15

The Henry Madden Library: The Leon S. Peters Ellipse. The California State University,Fresno. Fresno, CA 93740 (1876, Serial No. 33610, second Centennial grand built andoldest Centennial found at present). 34,35, XX

The Metropolitan Museum of Art, New York, NY 10028 (“Monitor Grand” - 1869prototype of Centennial grands also known as the “Iron Grand”) 46, 47, 56

The Mission Inn Museum, Riverside, CA 92501 (1877, Serial No. 35284) 23, 46

The Museum of Making Music of the National Association of Music Merchants (NAMM)Carlsbad, CA 92008 25

The Old Capitol Museum, Capitol Building, Senate Chamber. The University of Iowa, IowaCity, IA 52242 (1877, Serial No. 35033) 25, 49

The Smithsonian National Museum of American History, Washington, DC 20560. 36, 37

Technik Museum Speyer. The Speyer Technical Museum, Department of AutomatedMusical Instruments of the Auto & Technik Museum Sinsheim, Germany (1878, SerialNo. #38.xxx Centennial Concert Grand, Style III) 58. 59

Yale University Collection of Musical Instruments, New Haven, Conn. Acquisition No.334. (1864, Serial No. 13547, prototype of Centennial grands in Rosewood old-stylecase similar to cases in Centennial grands) 15

The Centennial Grand art case was hand-carved by European expert craftsmen in exotic African rosewood in a Rococo (Late Baroque) “old-style” consisting of stunningly ornate serpentine legs, an opulent filigreed music desk, and a solemn trapwork that bears the ceremonial “Centennial lyre”. 34 Of the 7 basic sizes of Steinway grands the Centennial Grand is the largest (8’9”). 19

The Centennial Grand is the only grand piano that Steinway & Sons ever built with a modern action and a full piano harp (iron plate) in the old-style Rococo with heavily hand-carved case and legs. The action was patented by Steinway & Sons in 1876 and it is still used today in all Steinway & Sons grand pianos. Indeed, the Centennial Grand represents the first fully modern piano with string tensions greater than any of the mass-produced concert grands that have been built since 1877. 6, 26, 27

The Centennial Grand keyboard has 88 very thick (1/16 inch) one piece ivory keys: 36 black and 52 white keys (seven octaves plus a minor third, from A0 to C8), and a “string scale”: 17 note bass, 6 tenor wound trichord, three bridges with the tenor, and a long bridge constituting one continuous bridge connected by a “ring”. The trapwork, first devised by Albert Steinway, 47

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is composed of three heavy solid brass pedals (soft, sustaining, and full sostenuto) encased in a magnificent “Centennial lyre” hard-carved in solid rosewood. 26, 27

The last patent implemented in this very piano is dated August 1, 1876. Its construction was completed on February 16, 1878 in Manhattan, NY at the premises of “The Steinway Block/Village” between 4th and 5th Avenue and 52nd and 53rd Streets. The frame was cast in the new Steinway plant in Queens, NY, where the Steinway factory still stands. The action was crafted in the old Steinway & Sons factory in Queens, and it may be one of the last works at Steinway & Sons of the famous key makers Wessel, Nickel and Gross, who around 1874 established their own company: Wessell, Nickel & Gross (WNG). To this date, WNG continues to set the standard for world-class piano actions.41

The present owner purchased this piano in June 1978 in Los Angeles, CA under the auspices the late Roy Frederik Kehl, 3, 23, 34, 35 musician, scholar, philanthropist, and Steinway archivist, from the renowned antique piano collector and dealer David L. Abell, owner of Abell Fine Pianos in Los Angeles, CA.19 The owner has always maintained this piano in a tightly controlled air-conditioned environment under filtered light.

During 2000-2001, the piano was restored and refinished by legendary Harmonia Maestro Ivan Tudor, owner of Pianos Wholesale Tudor Division in Temple City, CA and his son John Tudor. 21

The restoration and refinishing implemented encompassed the following procedures:

The piano case and legs were refinished to the original rosewood and covered with22 coats of lacquer in a semi-gloss satin sheen.

New felting, buttons and a new fallboard decal were applied. The hardware (pedals, rods, hinges and screws) were restored, brass plated and

reinstalled. The soundboard and bridge were repaired, sanded and refinished. The soundboard

was kept dry at all times and no chemicals or stripping agents were ever used. The piano harp (plate) was sanded and re-gilded with metallic paint. The letterings to the piano harp were re-stenciled and a clear-coat sealant was

applied. New Steinway bass strings, premium “Gold Series” treble wire, tuning pins and felting

were installed. The piano strings were chip tuned to concert pitch repeatedly. The damper heads were refinished and new damper felts were installed. Sharps were refinished. The original ivory key tops were bleached, sanded and polished. The hammers were sanded and re-shaped. The action was cleaned, re-pinned, regulated, tuned, and hammer-voiced.

In December 2001, Mr. Tudor finished the restoration of this piano and affixed a completely detachable electric dehumidifier system to the bottom of the piano before it was shipped by expert piano movers from Los Angeles to the present location in Turnberry Isle, Florida.

The current market value of Steinway Centennial Grands spans from $150,000 to $1,200,000 USD depending on the particular physical, aesthetics, historical, mechanical, and musical characteristics of the individual piano. 12, 13, 26, 27, 52

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HISTORICAL SIGNIFICANCE OF THE STEINWAY CENTENNIAL GRAND

The first two pianos of the “Centennial Concert Grand Series” were exhibited by Steinway & Sons at The Centennial International Exhibition of 1876 at Fairmount Park in Philadelphia, PA. This exhibition was the first official US World Fair. It was held from May 10 to November 10, 1876 to commemorate the first centenary of American independence from England. 1

The Centennial Exhibition hosted 37 nations in 5 main buildings and 250 additional structures on 285 acres of land. Over nine million people attended. The exhibition looked backward to pay tribute to the progress of American industries over the preceding 100 years, and to announce to the world that American inventions and innovations were on a par with those of their foreign counterparts. An industrial consumer pageant, The Centennial Exhibition was a unique event in American history that set the tone for a long series of world's fairs to come. 7, 41, 51

As part of the celebrations at the Centennial Exhibition, a competition was conducted to determine the concert grand piano that best represented the dominant figure of the US piano manufacturing industry at the time of America’s 100th birthday. 20

The recently formed piano manufacturing company of Steinway & Sons entered the competition as an “aspiring, yet very strong contender,” 25 after having gained significant attention and recognition in the US and abroad during the preceding decade for their craftsmanship and technological innovations and the acoustic qualities of their pianos.56

In 1853, the newly immigrant Steinway (“Americanized” from Steinweg) German family of piano makers established the piano manufacturing and sales firm of Steinway & Sons in Manhattan, NY. During the twenty years preceding the Centennial Exhibition, William E. Steinway, president of Steinway & Sons and head of the family, gathered a group of exceedingly skilled musical engineers, scientists, technicians, and handicraftsmen to produce grand era pianos with exquisite period detail and uncompromising style. 25

During the mid-1850s, Steinway & Sons introduced their first patents for improvements of the action in grand pianos (U.S. Patent nos. 17,238, 5 May 1857, and 20,595, 15 June 1858). 11 In 1859, Steinway & Sons introduced a major innovation with the cross-strung grand (U.S. Patent no. 26,532, 20 December 1859).11 Cross-stringing had been manufactured for squares and small uprights piano, but Steinway & Sons’ patent combined the one-piece iron frame, which Jonas Chickering had put into grands since 1843, 20 with cross-stringing, which had not been done before in grand pianos.5 Steinway & Sons, new design won a first-rank medal at the London Exposition in 1862, which marked the first step by Steinway & Sons toward an American hegemony in the piano trade. In 1864 the company opened a building on East Fourteenth Street that housed offices and warerooms; and in 1866, they added an important auditorium -- Steinway Hall. Steinway Hall remained a major concert and lecture hall until it closed a year before Carnegie Hall opened on Fifty-seventh Street in 1891.

During the 1860s, Steinway & Sons steadily gained market share for square, baby grand, and concert grand pianos in the US, a market which had been solidly dominated since the mid-1820s by Jonas Chickering, and since 1853 by Chickering & Sons of Boston. 10, 11, 36-42

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During the early 1870s, Steinway & Sons registered several other improvements in piano design and forty-odd new patents. Perhaps the most important patents were the duplex scale (U.S. Patent no. 126,848, 14 May 1872), in which the nonspeaking lengths of string between the tuning pins and the Capo tasto or agraffes at one end and the bridge pins and the hitch pins at the other, were proportioned as partial tones to the speaking lengths of the strings to allow sympathetic enhancement of tone. 7, 14, 36-42

In addition, Steinway& Sons introduced the “cupola frame” (U.S. Patent no. 127,383, 28 May 1872), 7, 29 which allowed freer distribution of sound from the soundboard and they placed the bridges closer to the center of the soundboard within a case laminated of eighth-inch planks (U.S. Patent no. 229,198, 22 June 1880) securely glued by use of an innovative rim-bending screw, which produced a lighter case that improved tone by reflecting sound waves back across the soundboard. The patented screw, which holds the planks while the glue dries, is still used by Steinway& Sons today in all grand pianos. One innovation, the Sostenuto pedal (the middle pedal on modern instruments), was proposed by Theodore Steinway in 1873; but his brother, Albert Steinway, made it work and was granted the patents (U.S. Patent nos. 156, 388, 27 October 1874, and 164,052–164,054, 1 June 1875). 7-9, 29, 36-42

By the early-1870s, William E. Steinway, in his incessant pursuit to advance the development and improvement of piano mechanics and sound, had intended to discontinue the usage of old-style ornate piano cases in favor of the emerging style of turned legs, full iron plates, string field layout, and their newly patented modern action, which is still used today. 36-42 However, to commemorate the 100th anniversary of US independence and, undoubtedly, as an strategic move to compete in the Centennial Exhibition of 1876, Steinway decided to make a onetime, limited edition of Steinway & Son’s famous first US piano featuring the ornate old-style Rococo case but using the Steinway & Sons newly patented modern action and other newly patented inventions. As a result, in 1876, Steinway & Sons exhibited two concert grand pianos at The Centennial Exhibition which were to be known as Centennial Grands thereafter. These two concert grand pianos (Model D-270, Serial Nos. 33710 and 34002, respectively) 34 were the prototypes of the new D-274 (now known as just Model D) concert grands built since 1884. Since then, Model D concert grands have dominated the world’s concert stages. 20, 34, 35

The Centennial Concert Grand was the first fully modern piano with string tensions greater than the current mass-produced concert grands that went into production after 1877. All Centennials have a soundboard iron pulsator, a cutoff bar area compression device, original sostenuto hardware, and original action. The Centennial’s fundamental sustainability and power through all registers is unsurpassed. Centennial Grands are the only full-plate Steinway grand pianos built with the gorgeous heavily carved Rococo serpentine legs carved case and ornate music rack. Whereas there are tens of thousands Model D concert grands in the current market, there exists only a few of the 424 Centennial Model D concert grands that Steinway & Sons manufactured from 1876 to 1883. 29-33 Of the seven basic sizes of Steinway Grands, the Centennial is the largest (8’9”). 19

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Steinway & Sons Centennial Concert Grands are different from the rest of D-274 or even from the other Model D grand pianos because of their magnificently crafted case and the string field layout. 29-33 Their string field layout is different from that of the D-270 models. The D-270 models have 20 keys in the lowest bass section whereas the Centennial Grand has a symmetric layout of 17-18-18-18-17 keys, which became characteristic of every Steinway concert grand from 1856 until 1884. 29-33

Steinway & Sons won the Gold Medal of Honor (First Prize) for the first two Centennial Concert Grand pianos.

Figure 1 (see the next page) shows an electronic scan of the original newspaper article that is in the possession of the present owner as it appeared on December 29, 1876 in New York’s “Daily Graphic”. 45.

The sketch illustrates Steinway & Sons’ show both at The Centennial Exhibition. It depicts several pianos exhibited by Steinway & Sons, including the award-winning first two Centennials Grands. The article describes specifics of the Steinway & Sons exhibit booth, Steinway’s vicissitudes and eventual triumphs at The Centennial Exhibition of 1876 at the Centennial Exhibition in Philadelphia in 1876.

As shown in the sketch and as reported in the article, in addition to the two Centennial Grands, Steinway & Sons also entered an overstrung Square Grand Piano in a Rococo old-style case for which they were also awarded a Gold Medal of Honor (First Place).

Additionally, Steinway & Sons were awarded two “Diplomas of Merit” for their newly patented action and their innovations in upright pianos. Steinway’s visionary acumen was demonstrated by entering also two newly developed upright pianos. Beginning in the early 1880s, American upright pianos started to win favor over square grands as being more fashionable and convenient. Because upright pianos were smaller and took up less space, the upright piano caused the square grand piano to become obsolete by 1900.

Moreover, the judges awarded Steinway & Sons a certificate with an overall rating of 95.5 of a possible 96.0 point scale and honored them with the following recognition:

“For greatest concert capacity in grand pianos, and also highest degree of excellence in all their styles of pianos, viz., largest volume, purity and duration of tone, and extraordinary carrying capacity, with precision and durability of mechanism; also, novel disposition of the strings, and construction and bracing of the metal frame.” --From “The Daily Graphic”, New York, NY, 12-29-1876, pg. 409, bottom half.

As may be expected, Steinway & Sons’ triumphs were not welcomed or supported by competing piano makers. Headed by Jonas Chickering’s surviving sons (Frank and George), competitors contested Steinway’s patents and innovations giving rise to the appalling “Piano War of 1876”. 36, 37

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The original and a transcribed account of the “Piano War of 1876” emerge in a vigorous personal account in The William E. Steinway Diary, 1869-1896 housed at The Smithsonian National Museum of American History. This literary production is a publicly accessible, annotated online edition of Steinway’s Diary including a complete transcription of all 2,500 pages of the diary by Edwin M. Good alongside high-resolution scans of each handwritten page. 15, 36, 37

The Steinway Diary gives a day-by day-account of the exhausting distasteful disputes between Steinway & Sons and Chickering & Sons and other well-established US piano manufacturers, in which the competitors, led by Jonas Chickering’s sons, attempted to discredit Steinway & Sons and to prevent them from being awarded first price on the Centennial Concert Grand and Square pianos. The war became acrimonious and miscreant. Chickering and co-conspirators allegedly presented to the judges fraudulent reports and misrepresented patents; and allegedly, they even attempted to bribe several judges. 37

Steinway & Sons prevailed in the “Piano War of 1876”. They were showered by approbation and recognition from the judges, who made the following declarations to the “Daily Graphic” on December 29, 1876, 45 making known to the public the scandals of “The Piano War of 1886 and its resolution:

“Steinway & Son emerge … from the fog of misstatements with which competing makers endeavored vainly to envelope them, with the double crowning triumph which they have so justly earned as “the standard piano-makers of the world’. … This is an honor which has not been conferred on any other piano manufacturer in this or any other country, or at any previous exposition the world has yet witnessed … The official, unanimous, and empathic report of the jury and the Centennial Commission … forever settle the question of supremacy (of Steinway & Sons) on every possible point.” -- From “The Daily Graphic”, New York, NY, 12-29-1876, pg. 409, bottom half. 45

The national and international markets responded with acclaim and remuneration. The Centennial Grand edition sold out immediately to national and foreign customers and soon became one of a kind” collectors’ treasures sought out worldwide due to their uniqueness and beauty and to their historical, musical and engineering importance. Steinway & Sons took over the US and World markets of concert grand pianos, a market which they still hold today.

A final piece of historical data pertaining to the historical importance of Centennial Grands and the sentimental value placed on it by the firm, is that William E. Steinway gave Richard Wagner a Rosewood Centennial Concert Grand (Serial No. 349xx) as a gift for the inauguration of The Bayreuth Festival Theatre (Bayreuth Festspielhaus) in Bayreuth, Germany on August 13, 1876. This piano is still on exhibit at The Bayreuth Festival Museum. 4, 36

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Figure 1. Newspaper article containing a sketch of the two Steinway Centennial Concert grand pianos, the Centennial Square Piano and two upright pianos that were awarded Medals of Honor (First Place) and Award of Merit, respectively, at the Centennial Exhibition in Philadelphia in 1876. From “The Daily Graphic”, New York, NY, 12-29-1876, pg. 409, top half.45

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PROVENANCE

During early 1978, Mr. Roy Frederik Kehl, a renowned Steinway archivist and venerated personal friend of the present owner, traced this piano to Los Angeles. CA and determined by the characteristics of this piano and its serial number that it is a legitimate Steinway & Sons Centennial Concert Grand Piano, Model D, 1878, Rosewood .

Mr. Kehl was an accomplished organist, pianist, philanthropist, Steinway archivist, and a authoritative expert on the history of Steinway & Son. 19, 35 He was organist and conductor at the Alice Millar Chapel at Northwestern University, Evanston. IL. He was also Choir Director at the Church of the Ascension in Chicago, IL, where the present owner worshipped and befriend him while a student at Northwestern University Medical and Graduate Schools from 1968 through 1974. 3, 23, 24

Mr. Kehl had an astounding memory for all kinds of facts - scores, numbers, names, birthdays, and especially, Steinway manufacturing serial numbers. “If you gave him [Mr. Kehl] a Steinway serial number, he could tell you the year it was manufactured,” said Morgan Simmons, renown composer, Presbyterian minister, accomplished pianist and organist, and choirmaster of the Fourth Presbyterian Church of Chicago, IL and Assistant Professor of Music and Worship at Garrett-Evangelical Seminary of Evanston, IL.22

In June of 1978, through Mr. Kehl’s intercessions, the present owner bought this Steinway Centennial Piano for $55,000.00 USD from the late David L. Abell, Mr. Kehl’s friend and owner of Abell Fine Pianos in Los Angeles, CA.

Mr. Abell was an antique piano connoisseur and a piano retailing legend in Los Angeles. For more than 54 years, David L. Abell Fine Pianos was the Los Angeles headquarters for the very best in fine pianos including Yamaha grands, Bösendorfer and of course, antique and vintage Steinways. As the autographed photos that lined the store walls attested, the biggest names in professional music were customers, including Frank Sinatra, Elton John, Stevie Wonder, Tony Bennett, Benny Carter, Quincy Jones, Gene Kelly, George Shearing, Jackson Browne, The Eagles, The Moody Blues, André Previn, John Williams, and many more.

According to Mr. Abell, he had bought this piano in early 1978 in Los Angeles, CA from the estate of an unidentified, recently deceased, Professor of Music and Piano at The University of California Los Angeles (UCLA) Herb Alpert School of Music in Westwood, CA. According to Mr. Kehl and Mr. Abell, said professor had purchased the piano during the 1930s from an unidentified Steinway piano agent in Northeast US, and he had kept the piano at his home in Westwood, CA for his personal enjoyment. Neither Mr. Kehl nor Mr. Abell was able to trace the provenance of this piano to an earlier date.

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From 1978 through 2001, The present owner kept this piano in his residence in the Hollywood Hills, Los Angeles, CA, for his personal enjoyment.

The present owner had the piano restored during 2000-2011 by Harmonia Maestro Ivan Tudor and his son John Tudor, a master craftsman in his own right, and co-proprietors of Pianos Wholesale Tudor Division in Temple City, CA. 21,

Ivan Tudor, born in the Island of Hvar, Croatia, was trained in the rich traditions of European master instrument makers. At age 17, after receiving his BS in musical engineering, he was recruited and hired as Director of the Institute and Technical Director of Harmonia. After completing graduate studies at the renowned School of Music in Zagreb, Mr. Tudor was recruited and hired by the prestigious German House of Stahl (Steirer Stahl Orgelbau), where he developed new processes, fashioning new pneumatic valves and vibratos for pipe organs for the finest musicians in the world. In 1911, David Saphir, a young Southern California entrepreneur, whose family had for generations built pianos for the world's greatest musicians, was in the process of creating Pianos Wholesale in Los Angeles and throughout the State. Mr. Saphir recruited and hired Mr. Tudor as Master of Piano Rebuilding of the entire company.

After laboring so long in the service of others, Mr. Tudor, with his son John Tudor, opened his own business, Piano Wholesale Tudor Division in Temple City, CA, where artists and connoisseurs worldwide have sought their services in appreciation to the sensitive, responsive touch of their pianos, and their instant reaction to any of their intentions. His patrons have included past and current members of the world's most prestigious philharmonics, orchestras, and concert halls. His beautifully restored instruments have been featured in major motion pictures and are sought constantly by the most successful pianists, actors and businesspeople in the country.

In December 2001, Mr. Tudor finished the restoration of this piano and affixed a completely detachable electric dehumidifier system to the bottom of the piano before it was shipped by expert piano movers from Los Angeles to the present location in Turnberry Isle, Florida.

REFERENCES

1. Anonnymous. (1876) Philadelphia und seine Umgebung . (Philadelphia and Its

Surroundings. Book published in German issued to celebrate The Centennial Exhibition

in Philadelphia and advertise products of myriad manufacturers, including Steinway &

Sons). J.B. Lippincott & Co., Philadelphia.

2. Antiquarian Trader. “Antique Steinway rosewood centennial model D fancy concert

grand piano for sale for $150,000”. http://www.antiquariantraders.com/p-1457-

795535-antique-steinway-rosewood-centennial-model-d-fancy-concert-grand-

piano.aspx.

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3. Baraba, S. (2011) Obituary: Roy Frederik Kehl (1935-2011). “Roy Kehl Accomplished

Organist & Music Historian, Dies “Chicago Sun-Times”, March 06, 2011.

http://www.suntimes.com/news/obituaries/4174899-418/roy-kehl-accomplished-

organist-and-music-historian-dies.html

4. Bayreuth Festspielhaus: “The Bayreuth Festival Theatre.“ http://www.bayreuther-

festspiele.de/documents/_the_bayreuth_festival_theatre_341.html

5. Benade, A. H. “Sound Production in Pianos”.

http://www.zainea.com/piano%20sound.htm

6. Bernd, A. B. (2010). Concert Grand Steinway & Sons: Centennial Piano Model D Built

in 1877. http://my.opera.com/BerndAB/albums/show.dml?id=2298701

7. Brown, D. (1966) The Year of the Century: 1876. Scribner, NY

8. Dain, R. (March 2014). "The Engineering of Concert Grand Pianos." Royal Academy of

Engineering, London, UK.

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9. Dolge, A. (2012) Pianos and Their Makers: A Comprehensive History of the

Development of the Piano from the Monochord to the Concert Grand Player Piano.

Dover, NY.

10. Dunkley Music. “Brief History of Pianos”. Cache Valley and the Wasatch Front, Utah.

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Utah. http://www.dunkleypianomovers.com/gallery/steinway-grand-piano/

12. EBay: Item No. 330754583783: Steinway Centennial Grand Piano. ONE of the FOUR

real ones, and only playable $ 850,000 to $1,200,000 (Feb 20, 2014).

http://www.ebay.com/itm/Steinway-Centennial-Grand-Piano-ONE-of-the-FOUR-real-

ones-and-only-playable-

/330754583783?pt=LH_DefaultDomain_0&hash=item4d02826ce7#ht358wt_122

0

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13. Farley’s Pianos. Steinway "Centennial" D Concert Grand Piano for sale for $349,000.00

http://www.farleyspianos.com/gallery/restored/steinway_centennial/steinway_cente

nnial.html

14. Givens, L. (1964). Rebuilding the Player Piano. The Vestal Press, NY. ISBN:

9780911572032.

15. Good, E. M. (2002) Giraffes, Black Dragons, and Other Pianos: A Technological History

from Cristofori to the Modern Concert Grand. Stanford University Press; 2nd edition.

ISBN 978-0-8047-4549-9.

16. Gross, L. P. & Snyder, T. R. (2005) Philadelphia's 1876 Centennial Exhibition. Arcadia

Publishing, Arcadia, CA. ISBN 0-7385-3888-4.

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b#v=onepage&q&f=false

17. Holzhueter, J. “The Villa Louis 1879 Steinway “Centennial” Rosewood, Concert” Grand.

WellTempered WordPress. http://welltempered.wordpress.com/tag/steinway-sons/

18. Ingram, J.S. (1876). The Centennial Exposition, Described and Illustrated, Being a

Concise and Graphic Description of This Grand Enterprises Independence. Hubbard

Bros. Philadelphia, PA. ISBN 9781276002196

https://ia700300.us.archive.org/1/items/centennialexposi00ingr/centennialexposi0

0ingr_djvu.txt;

19. Kehl, R. F. & Kirkland, D. R. (2011) The Official Guide to Steinway Pianos. Hal Leonard

Corporation, Amadeus, Limelight Editions, Pompton Plains, N.J. ISBN: 1574671987

20. Kenneth B. Brewer Antique Pianos: “Short Biographies of Selected Quality Piano

Builders. Chickering and Others”.

http://www.kbbantiquepianos.com/Chickeringbios.html

21. Keyboard Concepts “Remembering David L. Abell.”

http://www.keyboardconcepts.com/abell.html

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22. McKay, R. S. “John Tudor”. http://pianos-wholesale.com/history.htm

23. Mission Inn Museum: Centennial Grand Piano by Steinway & Sons, Serial Number

35033. http://www.missioninnmuseum.com/docents/Steinway%20Piano.pdf

24. MorningStar Music Publishers. “Composers: Morgan Simmons”.

http://www.morningstarmusic.com/composers-simmons.cfm

25. Music Teachers National Association (2002) “Steinway donates unique piano to

Museum of Making Music of the National Association of Music Merchants (NAMM)

Carlsbad, CA,”

http://www.thefreelibrary.com/Steinway+donates+unique+piano+to+music+museu

m.+(Items+of+Interest).-a092725430

26. NorthShore University HealthSystem (2011) “Philanthropist Roy F. Kehl: Patient's

Legacy One of Caring for Others.” http://foundation.northshore.org/pages/patients-

legacy-one-of-caring-for-others

27. Obituary: Roy Frederik Kehl (1935-2011) “Chicago Tribune”, March 03, 2011.

http://www.legacy.com/obituaries/chicagotribune/obituary.aspx?pid=149062025

28. Old Capitol Museum. The Center of it All “1878 Steinway and Sons Centennial Style

Concert Grand in Rosewood”. Museum The University of Iowa, Old Capitol Museum,

Coralville, IA

http://www.uiowa.edu/oldcap/1878SteinwayandSonsCentennialStyleConcertGrandi

nRosewood.shtml

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