C.Bechstein

Although the social economy during this period was very bleak, various new ideas based on German enterprising spirit are still emerging. Friedrich Krupp operated a modern steel plant in Essen, and August Borsig established a smelter in Berlin, ushering in a new era represented by heavy industry, blast furnaces and steam railway engines. However, the powerful bureaucracy and the aristocratic privileges that have not yet been abolished have caused great resistance to industrial development.

In 1854, Hanover finally joined the German Customs Union initiated by Prussia 30 years ago. Since then, the German economy has made real progress, but social progress has obviously not kept up. Child labor is still legal. A Prussian law passed in 1854 only raised the minimum age for child labor to 12 years.

Adolf Menzel’s paintings illustrate the social changes that took place in the mid-19th century. Menzel is an open-minded artist who is good at depicting the world around him. Before the 1850s, he mainly painted landscape paintings, portrait paintings and genre paintings. He also painted some historical paintings, and his favorite painting theme at the time was Frederick II. Several portraits of the king vividly reproduce the scene of Frederick II and the court painter Antoine Pesnienzhou riding and playing the flute together. In 1847, Menzel created two works reflecting contemporary social topics: "Railway in Berlin Potsdam" and "Portraits of Two Men Who Have the Right to Suffrage". In 1854, he created a famous study, depicting Clara Schumann and violinist Joseph Joachim. However, it was not until the 1870s that he began to devote himself to showing the industrial revolution, and "The Rolling Mill" is one of the typical masterpieces. In a sense, indirect themes can also reflect the spirit of the times. For example, Menzel did not depict the roadblocks and fires in Berlin in 1849, but his paintings of student teams holding torches can also be understood as a cautious allusion to the riots.

All in all, 1853 is not the ideal time to develop the musical instrument manufacturing industry. I don't know how many young craftsmen like Carl Bechstein invested in the musical instrument manufacturing that year, but their dreams were quickly overwhelmed by huge debts.

The rise of Berlin

In the mid-1850s, Berlin was already an influential city, but it was far from the development scale of its famous cultural metropolis. As early as several decades ago, romantic poets and philosophers put forward the visionary cultural concept of "Athens on the Spree". Napoleon is imitating the Roman Empire to rebuild Paris, and Berlin will develop into a new Athens-a metropolis full of art, science, poetry and philosophy. In response to the political and military hegemony of the French Empire, the famous Prussian scientist Humboldt proposed that science is power. This view applies to the mid-nineteenth century, and it also applies to today.

In addition, Berlin is a must for many musicians traveling in Europe. The Prussian rich love music for a simple reason. Music can convey to them the peaceful and peaceful feeling of Ancient Cecila. Under the political turmoil at that time, they expected to get a little comfort from music. Therefore, the Berlin bourgeoisie very much favors piano, a continuously improved and easy-to-learn instrument. Carl Bechstein came to Berlin in 1846 (according to information in 1848) and began to cooperate with Gottfried Perlau. Pelau's studio is located in Hausvotte Square in the center of Berlin. Like Kerstin, the traditional piano made by Perlau is famous in Berlin, but Perlau is by no means an innovative luthier. At the same time, Theodore Stoker was very innovative. The piano action and keyboard he developed are still outstanding today.

In the autumn of 1848, Bechstein was entrusted to manage Pelau’s studio, but he resigned soon afterwards and went to London the following summer, then to Paris, where he followed two great luthiers to improve their skills . The two luthiers are Jean-Henri Peppe and Jean-George Kriegelstein. Jean-Henri Peppe was born in Zarstedt, Germany. He is uniquely innovative and has 120 invention patents. His creativity left a deep impression on Bechstein, and Jean-George Kriegelstein was extremely talented in making piano, and he also exposed Bechstein to the latest business management and practice at the time. Kriegelstein's success stems from his bold introduction of an innovative upright piano in 1842. This piano is only 130 cm high, compact, compact, powerful, and perfectly balanced in all sound areas. Once this upright piano was introduced, it became a sensation and went into mass production.

While Carl Bechstein was studying in Paris, the Ellard brand piano was also very famous at the time. The company’s founder, Sebastian Ellard, is very legendary. He has made many improvements and innovations to the piano. The double escapement action he developed is still widely used on grand pianos. Some modernization improvements have been made. In the mid-nineteenth century, every music lover knew that Franz Liszt preferred Ellard pianos. We cannot be sure whether Bechstein met Sebastian's nephew Pierre Ellard. What is certain is that Bechstein, a young German, is very aware of the huge influence of Ellard pianos worldwide. Pierre Ellard ran the family business from 1831 until his death in 1855, and devoted his life to consolidating the market position of Edra pianos. Under the efforts of Pierre Ellard, the factories in Paris and London produce nearly 2500 Edra pianos every year, and the Ellard Concert Hall has become one of the most famous concert halls in Paris. Pierre Ellard also held a big carnival at the Chateau de la Metre, which was bought by the founder Sebastian in 1820, and attracted the celebrities and nobles of Paris. Did the great success of Pierre Ellard impress Carl Bechstein so much that he decided to become as successful as Ellard? We don’t know the answer, but the fact is that Bechstein will replace Ellard in the next few decades and become the most important piano manufacturer in Europe.

What kind of person is Carl Bechstein? Historical data show that he is a very humble person, he does not write a journal when he is young, and does not write memoirs when he is old. From his photos, we can see a tall, confident man. In one of the photos, he is standing with his left elbow resting on an upright piano, and his broad shoulders are draped in a coat rich in romantic style. Such a person is absolutely eye-catching in Paris' high-end salon...

After returning to Berlin in 1852, Bechstein became the manager of the Pelau factory. But the following year, he set off again for Paris as the manager of the Kriegelstein plant. However, a few months later, he left Paris again. This time he left because of his love with Louise Dolin, a young woman from Straussberg, Brandenburg, whom Bechstein married in 1856.

Carl Bechstein starts his own business

Bechstein returned to Berlin and once again became Pelau's right-hand man. From October 1, 1853, Pelau allowed Bechstein to manufacture his own pianos on the upper floor of the warehouse at 56 Belem Avenue. The reason Bechstein decided to stay in Berlin for development was speculated that he knew that Pelau would allow him to manage his own studio while also making his own studio. But this explanation doesn't make sense. A better explanation might be that Pelau refused to adopt the innovative piano-making techniques Bechstein learned in Paris, and Bechstein began to make pianos himself. In any case, the two reached a gentleman agreement. Although Bechstein began to sign his piano as early as 1853, as stated in official documents, Bechstein only officially established his company in 1856.

It can be seen from the map of Berlin that Bechstein's studio is located on Belém Street and the location is of strategic significance. Belém Street is adjacent to the Metropolitan Theatre (renamed Opera in 1846), parallel to Unterden Linden Boulevard, and passes through Charlotte Street and Friedrich Street. These two streets and Belém Street are the places where Berlin dignitaries live.

In addition, Bechstein’s studio is close to the Opera House, Brandenburg Gate, Gendarmenmarkt Square and Leipzig Street. On the Gendarmerie Square is the Luttel & Wegener bar frequented by the romantic writer ETA Hoffman, and Leipzig Street is home to musician Felix Mendelssohn and other culturally rich people. It can be seen that Carl Bechstein’s location for the studio was well thought out and far-sighted.

The three virtues of the Bechstein family: courage, creativity and perseverance.

Various publications have strongly confirmed that the Bechstein family has a casual and pragmatic character. In 1926, on the 100th anniversary of Karl Bechstein’s birth, an article published in the Gotha Daily stated that Bechstein was born in a family of farmers and craftsmen, and his ancestors lived in various villages in Thuringia for hundreds of years. , Mainly scattered on the banks of Laucha, Langenhain, Tschösen and Oluf. The article also pointed out that several members of this family are talented musicians, which is not surprising given the long tradition of music in Thuringia. One of the family members, John Matteus Bechstein, initially studied theology and later the natural sciences. He founded a forestry school in Tschösen, which later became Dresy Sack/Meining Dean of the Root Forestry College. His nephew Ludwig Bechstein published a collection of legends and stories about Thuringia, which played a decisive role in popularizing German medieval history and culture, and this collection of legends and stories was also Richard One of the sources of inspiration for Wagner's creation of "Don Wise". Ludwig Bechstein was appointed as a librarian and court adviser by the Duke of Saxony-Meiningen, a common form of patronage of art activities by nobles in the nineteenth century. Ludwig Bechstein died in Meiningen in 1860.

Carl Bechstein’s birthplace in Gotha, Thuringia

Carl Bechstein’s father was Ludwig Bechstein’s cousin and lived on the banks of the Laucha River. Carl Bechstein’s father was a barber, worked hard, and played spinney in his spare time. In 1831, Bechstein's father died at the age of 42 and left three children. Carl Bechstein was the youngest, only 5 years old. Soon after, Carl Bechstein's mother remarried John Michael Aggot, the chorus conductor of the Dietendorf Church. The chorus conductor is very strict with his daughter and the three children of his new wife. He taught Karl Bechstein to learn to play the violin, cello and piano. In 1840, Carl came to Erfurt and became an apprentice with piano maker John Glaitz. At that time, Carl's sister Emily was engaged to Glaitz and married him in 1844.

Although Gretz is an alcoholic, his craftsmanship is not bad. Unfortunately, during his four-year apprenticeship, Carl had to deal with his master's bad temper. Therefore, his childhood and adolescence were not particularly happy. This may have affected his character, he was described by his contemporaries as a particularly serious, but also amiable and gentle person. In addition, Carl Bechstein is very frugal. According to his own description, when he left Dresden where he worked with Pleyel and went to Berlin, he kept walking barefoot in order to save shoes. In addition, he also used every opportunity to educate himself. For example, while working in Perot’s factory, he used his rare free time to learn French..

The young Bechstein was full of confidence in himself and his abilities, and continued unwaveringly on the path he chose. As mentioned above, this road took him out of Berlin, to London, to Paris, and then back to Berlin. In 1853, he built the first two Bechstein pianos in a small studio on Behrens Street in nine months.