The piano is without a doubt the most important instrument of today.
It is rightfully called the orchestra of the saloons. It is the indispensable aid of the great modern composers. The intense expression of its sound is indefinitely variable and provides the opportunity to perform the most complex music pieces.
The piano is always at the musician’s disposal; it doesn’t require constant tuning. It neither exhausts the lungs nor any other organs of the performer.
When the instrument is properly tuned, it imposes its tonal purity and neither tolerates shortcomings nor imperfections of the artists hearing. This instrument is most suitable for music education. One can only just acquire musical knowledge without being accustomed to the piano.
The piano is to a certain degree indispensable for education.
One can encounter the piano in basic living areas; the initial reservations concerning its weight and size proved to be of no hindrance for its propagation.

When one does not set out to be noticed during a musical performance, one dismisses the violin, flute or cello, but one can almost be certain to find if not an Erard, then at least a piano that qualifies for accompanying a romance, performing of a quadrille or just entertaining a group of friends.
As a result of the ongoing spread of the piano, the manufacturing of the instrument has become one of the leading industries, to be included among the Great Manufacturers of all countries.
The manufacturer of pianos and harps, brought into being over a century ago by Sebastien Erard, finds itself among establishments which with each year, distribute a growing number of pianos over the whole world.
The reason for the fact that “Les Grandes Usines” does not contain a description of the famous manufacturing, the creation that is now being continued by Mme Erard and her employees in the tradition of the founders Sebastian and Pierre Erard, can be found in our search for sufficient specific documents, intending to show our readers, which prominent role Sebastien Erard and his nephew Pierre Erard have played in the ever so difficult art of piano manufacturing.

The manufacturing of the first pianos proven to be worthy of performing the music of great composers is ascribed to Sebastian Erard.
Since this creation, the name Erard has been invariably linked to all progress made in this specific industry.
This may possibly be unique. In no other branch of industry one encounters a product first created, then developed into almost utter perfection, all within one firm.
We have now completed our research and have accumulated the necessary documents for this study.
We are delighted to bring homage to the in the artistic world so well-regarded, Erard.
The production of French pianos involved an enormous turnover; these instruments owe their success to the Erards, who have shaped the manufacturing of the modern piano of today in France, by means of their inventions which are now state’s property.

In this study we will first touch upon the major events concerning the lives and works of Sebastian and Pierre Erard. All developments will be taken into account, not only the developments in piano manufacturing, but also those involving harps and organs.

They were realized by a genius, who was fortunate to find a successor within the family, capable of continuing and perfecting his work.
Secondly, we will demonstrate, by studying each instrument separately, how the piano, harp and organ existed before and after the work of S. Erard and to which degree the perfection of these instruments can be contributed to the work of P. Erard and his successors.
Arriving at this point of our study we hope to have sufficiently awoken the reader’s interest, to continue with a tour of the factory at the rue de Flandre, where he shall partake in the wondrous creation of the piano.
The factory tour will involve the hardship, the industrial potential of the firm Erard as well as the reasons for the well-deserved success of the instruments that were built at this famous factory. Its products express the good taste and excellence of the French industry.
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Chapter 1

Origin of the house of Erard, his inventions and work.

Sebastien Erard was the founder of the house of Erard. He is justly considered to be the greatest mechanical engineer ever in his line of work.
As an inventor he did not only surpass his predecessors, but also those who to some extent made a name for themselves by following in his lead.
The German pianos were considered as the most perfect at the end of the previous century.
Names of the best manufacturers in France, England and Italy faded in comparison with those of Spaelt, Stein und Streicher.
Although, these pianos were an enormous step forward from the harpsichord, they still had a slow mechanism and a heavy touch. They were hardly suitable for the performance of the works of the masters, so the hope of creating something more than just accompanying instruments was long lost.
It took the interference of a genius to make the piano-forte solid like the experts demanded, with an easy and yielding touch, as well as a clear and powerful sound, a perfect concert instrument available for us today.
This genius suddenly appeared in Paris, in the person of the young Sebastien Erard.
Sebastien Erard was born in Strasburg on the 5th of April in 1752;his father, who was a carpenter, was struck by the boy’s passion for tools and his talent for woodcraft. He provided his son with excellent vocational schooling, which further developed the boy’s gift.

S. Erard was sent to school in Strasburg at an early age. He studied architecture, perspective, line drawing and practical geometry, knowledge which would come in very handy.
His talent and ability brought him striking superiority compared to his peers. Even more so because of his work in his father’s workshops where, according to Fetis, he had become very competent at an early age. He was very skilful with tools, an ability which would later on enable him to guide and educate other craftsmen. Young Sebastien Erard had such a major talent, that a teacher at the Ecole du Genie in Strasburg, entrusted him with the creation of show models. This teacher’s admiration for the young man’s perfect work and ingenious ideas went thus far that he said:” young man your place is in the engineer
trade.
After his father’s death in 1768 Seb. Erard, by then only sixteen years old went to Paris to pursue his dreams. At first he was employed as a humble labourer at a harpsichord factory. The supervisor’s self–worth was hurt badly by Sebastien’s ongoing desire to know and understand everything. As a result his employment was not continued.
His second boss appreciated Sebastien’s qualities more. He was engaged in building an unusual instrument in terms of touch and sound and because in his opinion he lacked the specific expertise, he turned to the new apprentice. He was indeed very apt at building the instrument, but needn’t ask his boss for the patent.
The instrument was of such brilliance that it was admired in the whole of Paris. Sebastien’s boss soon had to admit that it was in fact his apprentice’s fabulous design.
This anecdote was soon spread throughout the music world and put the young artisan in the spot light.
This was even more the case when, not long after, Sebastian created an automatically playing harpsichord for the collection of curiosities of the Duke de la Blancherie. It became a sensation when the Journal de Paris printed a detailed report about the instrument and brought about enormous commotion among the artists in Paris.
Thus, young Sebastian started to build his reputation, to ultimately set a name for himself at the early age of twenty.
When he was introduced to the duchess de Villeroy, a passionate art lover, who became his patron, he also met with her more than generous hospitability. She persuaded Erard to establish himself in a workshop of his own. He agreed under the condition that he kept his autonomy.
In this studio he built his first piano. This instrument became exceptionally popular. Soon thereafter, Erard’s pianos were regarded as real works of art and in demand throughout the whole of Europe.
France, which until now had imported most of its instruments from abroad, in turn met its tributary to Germany. In 1799, there was already one single merchant in Hamburg, who had ordered more than two hundred of these new instruments.
The Erard piano became so renowned, that people spoke of an Erard, when they meant a piano-forte, they used the name of the inventor as a brand name.
In 1780, Erard asked his brother Jean Baptiste, to join him in Paris. He educated him in the rudiments of his work and put him in charge of the studio, so he could concentrate on his research and tests.
Hotel Villeroy soon proved to be too small and the two brothers settled at the rue Bourbon. Shortly afterwards, this department was transferred to the rue du Mail.

This department still carries their name and has grown ever since.
However, the Erards’ reputation and success evoked jealousy. Their enemies even ensured the impoundment, under the false pretext of not observing the regulations of the communaute des evantaillistes, to which the snare-building business belonged.
If it hadn’t been for King Louis XVI’s testimony, the two brothers and their extraordinary firm would have perished, due to their merciless rivals. Louis honoured Sebastien Erard’s name in order to protect him from all the disastrous consequences of jealousy.
This testimony, of which the original is kept in the archives of the house Erard, is worthy of being included in the unabridged version.

“Today on the 5th of Februari, 1785, the King of Versailles states, that sir Sebastian Erard is permitted to enhance the quality of the piano-forte, by means of by him invented methods, which has already resulted in this instrument being favoured above the ones made in England.
To enable this, in the city of Paris, where he has his firm, his Majesty determines to bound his talents to the named city offering protection, also for those who participated in the conscientious labour of the useful and pleasant arts, authorizing the fabricating and the commissioning of fabricating as well as the selling of fortepianos in the city and suburbs of Paris and everywhere he sees fit. Furthermore permitting the usage of, by him or by his employees, wood and iron and all other materials needed to perfect and decorate the named instrument, without disturbance or intrusion by municipal officials, constabulary and societies of arts and science for whatever reason or pretext.
Under the condition that sir Erard confirms himself to the statutes and rules of the specific discipline of the journeymen and only welcomes those who live up to the above mentioned regulations.

Signed: Louis
Co signed: Baron de Breteuil

It was around 1786, shortly after Sebastien Erard received this extraordinary favour, that Sebastien’s attention was drawn to the harp, which became popular in France.
Many musicians were very distressed due to the inadequate mechanics of the harp.
Many tests were conducted to improve the instrument, but it still left much to be desired.
The famous harpist of that time, Krumpholz, asked Erard to employ his wisdom, in order to find a solution for this problem.
He set out to work and after a few months he created an instrument according to a whole new concept. The artists who were asked to validate the instrument were utterly amazed.
During the same time he visited Erard, Krumpholz also had been in contact with Nadermann, builder of the so-called harps à crochets, the best ones that were used at that time.
Krumpholz was taken by surprise by the sudden success of Erard and realised that his other partner Nadermann would be put out off business by this new invention. He tried to discourage Erard and at the same time distanced himself from the invention, although Erard had already made considerable expenses.
Sebastien Erard shrank from the confrontation with such an influential adversary and for now abandoned the plan of announcing his invention.
Nonetheless this still concerned the so-called harp à fourchettes with simple mouvement, of which the musical qualities, were still very limited, despite the enormous improvements made to its mechanism.
In 1811, after many years of studying and hard work Erard established his reputation with the harp à double mouvement.

Later on, we will further discuss the details of this harp’s mechanics, which with its perfection and its ingenious interior surpassed every harpist’s dream.
One cannot imagine the amount of hard labour it took to build this instrument. According to Fétis, Erard only slept for a few hours during the months prior to the presentation of the instrument.
In August 1815 he presented his proposition to the Academies Réunis des Sciences et des Beaux-Arts. In a report, signed by leading scientists, the committee praised him for his significant project.
The disturbances of the Revolution caused great damage to the industry. Sebastian Erard, who had already visited England, to start up a market for his instruments, was forced to leave Paris because he could no longer work at his projects in safety. He settled in London and started a business that flourished more and more. Firstly he introduced his inventions. Then he designed all the relevant tools for his ingenious instruments and trained his employees and divided the work. This work schedule functions up to this day.
In chapter V of this study, we will return to this subject when we describe the merchandise.
When Erard returned to Paris in 1815, he introduced the new harp to the Academie des Beaux-arts and puts forward the improvements he made to the piano.
Since that period, he no longer had rivals at the fairs. Three times in a row he was honoured with the golden medal and soon thereafter he became knight in the Légion d’honneur. He brought about a change in piano manufacturing especially in the decade between 1820 and 1830.
Erard’s real triumph, the crown on his reputation was the invention of the double échapement ; the repetition technique, a brilliant invention, enabling the virtuosi to provide their performance with the most delicate nuance.
Nothing seemed unreachable for the hardworking inventor.
One can form an idea of his activities when one realises that in England alone he had over twenty patents on just the piano.
When you study the models, drawings and all the inventions left by him, you are amazed by what he thought up and built.
Inventors will even think that most of these inventions, were invented during our time e.g.: the duoclave piano, which is both piano and organ, the transposing harpsichord that was made for queen Marie-Antoinette, whose voice had a small range, the doubler-bass with trampoline shaped pedal, designed ,on request for Krumpholtz, in order to increase the effect of the bass snares of the harp, a spring-system, that makes the piano strings sound more clear, special tuning pins, that keep hold of the tone, machinery and tools for the sawing of wood etc etc. He confronted every problem and solved every single one of them, using only what he thought was practical and truly important, and dismissing anything that he regarded as insignificant or ineffective.
An instrument as significant as the organ definitely could not escape Sebastien Erard’s attention. After, bringing the harp back to life and perfecting the piano as we know it today, he had to involve himself with the organ.
This instrument owes its many improvements, contributing to its strength and capacity, to his brilliant creating capacity.
He especially gave the organ means of expression by introducing the nowadays still so effective toucher
We will discuss this great invention later in our chapter about the organ.
We will explain its importance, making use of the very favourable report, that was presented by the department of Music at the Académie Royale des Beaux-Arts in November 1824.
Sébastien Érard could not design and execute his work without his health being severely
damaged.
It was shortly after his double échappement, that his illness stood in the way of new exertions. After a painful operation in 1824, he went back to work and invented a mechanical veneer-saw, which amazed his employees in Paris.
He was taken ill, despite his strong constitution, while working on an organ for the Tuileries chapel.
After he was brought to his château in La Muette his condition quickly deteriorated and he died on the 5th of April 1831, after an ordeal of twelve months.
He left his many obligations in such difficult times to his nephew Pierre Erard, who had been his employee for al long time, and also instructed him to preserve the reputation of the firms he had founded in London and Paris.
Under the expert guidance of their new director, these firms again thrived. At the Exposiition of 1834 as well as those of 1839, 1844 and 1849 Érards instruments, without a miss, took first place.
In 1834 Pierre Érard became knight in the Légion d’Honneur.