196:
129:, an area in which he was a pioneer. (Earlier, the building of pianos took place in small workshops.) He purchased the "Mondscheinhaus", a formerly fashionable dance hall at 102 auf der Wieden, and converted it into a piano factory, removing the chandeliers and other accoutrements. A report from 1835 indicates that the factory had 40 employees, who were "organized in eight divisions, each specializing in a particular job" (Wythe). Many of the workers lived in the same building, which included ten apartments. Between 1827 and 1831 Graf built two additions to his factory, adding a total of over 1000 square meters.
188:
180:
420:
532:: they are uncorrupted by modern 'advances' such as the steel frame and the repeat action, and show none of the unwieldiness that eventually led to the decline of the Viennese piano." Kottick and Lucktenberg describe Graf thus: "although a conservative builder, Graf was well thought of, and some of the best nineteenth-century German pianists preferred his instruments." The report of the exhibition where Graf's pianos won a gold medal said:
20:
1713:
375:. At various stages (about 1810–1820, and also 1826; see below) he explored the possibility of adding a fourth string per note. Graf also built a mechanical saw for cutting veneer, capable of cutting strips up to 57 cm. wide, and created a device intended to help deaf persons (one in particular; see below) hear the sound of the piano.
245:, interlock like bricks at each joint and at the belly rail, creating an exceptionally stable frame." The case was laminated i.e., built in layers, as it usually is in modern grands. The sturdy construction prevented warping, which was a common problem of pianos in Graf's day, when both number and tension of strings was increasing.
121:
The early 19th century was a period of ferment in piano building; Wythe describes the work of contemporary builders as "a volatile blend of traditional craftsmanship and new technology, carried out in an atmosphere of intense competition." Graf was successful in this milieu. By 1809, he was employing
117:
It is not known how Graf developed his style or methods for building pianos. None of the pianos of his teacher
Schelkle survive, and the surviving early Graf instruments are not much different from his fully mature ones. As Wythe says, "Graf's style appears to have emerged fully developed out of an
248:
Viennese pianos, including Graf's, are known for effective damping of sound after the key is released. Graf achieved this result by a variety of means. The dampers were graded in size (larger in the bass), and used different materials for different ranges (wool in the treble, leather in the bass).
138:
notes, the instruments "show a remarkable degree of consistency and may be categorized as a series of models", presumably as a consequence of Graf's mass production methods. The lower cost of factory-produced instruments led in the 19th century to widespread ownership of pianos by the middle class
541:
The surviving Graf instruments are about two centuries old; the musicologist Robert Winter has voiced strong criticism of performers who choose to use historical instruments, including Graf pianos, that may sound very poorly after such a great passage of time. However, a number of modern builders
536:
The distinguished characteristics of his pianos have gained them the attention of the entire musical world; indeed, there is a strong market for his instruments not only domestically but in all parts of the civilized world ... must be included among the most successful achievements in the art of
415:
came to Vienna from Poland to give concert performances on the piano. Both Graf and his rival Matthäus
Andreas Stein offered Chopin an instrument to use. Chopin, who was familiar with foreign pianos, unhesitatingly selected the Graf, and his Vienna concerts were a success. According to Goldberg,
256:
A curious aspect of some of Graf's pianos was a second soundboard. This had no bridges, but simply floated above the strings (not attached to them). According to Wythe its purpose was to make the sound "mellower and more blended." The instrument shown in this article has such a soundboard.
218:; otherwise, their construction was entirely of wood. The stringing was straight (that is, all strings parallel, instead of the bass strings crossing over the treble as in modern pianos). The range as C′–f′′′′ or g′′′′. There were from three to five pedals, which other than the standard
439:
wrote in his diary during Liszt's 1838 visit to Vienna, "We heard Liszt today at Conrad Graf's who was sweating as his piano did not survive the great duel—Liszt remained the victor." Wieck described another concert on the same visit in which Liszt "destroyed" two Grafs, as well as an
370:
Although Graf's pianos are generally considered conservative in their design, there is evidence that Graf explored various ways to improve them. His technical innovations included the strengthened interior bracing mentioned above, a new method of leathering hammers, and quadruple
358:, I'd recommend a late Classical instrument ... Graf's instruments are significantly heavier than their contemporaries because of the solid oak framework. Despite their reputation, they are actually not any louder than instruments by other makers – perhaps even less so."
393:, and quadruple-strung from D to the top (F4) – probably on the assumption that this stringing would make the piano more audible for the composer, who was quite deaf by this time. Graf's sound-channeling device, mentioned above, was also part of this effort.
838:, Katharina Olivia Brand. Franz Schubert, Carl Friedrich Zelter, Charlotte Bender, Johann Friedrich von Dalberg, Anselm HĂĽttenbrenner, Johann Vesque von PĂĽttlingen, Josephine Caroline Lang, Ernst Friedrich Kauffmann, Felix Mendelssohn.
435:, who played Graf pianos, must have been something of a thorn in Herr Graf's side, as the Graf piano was not always capable of standing up to the violence that Liszt inflicted on it during his more impassioned moments of playing.
213:
As was typical with the pianos of his day, Graf's instruments use rather little metal reinforcement. The only metal structural part was the gap spacer, which reinforced the structure at the gap where the strings cross over the
334:. Intuitively, the sound is "heavier", less tinkling, and shifted in the direction of the modern piano. Builder/scholar Paul Poletti, who is experienced in restoring and copying Grafs, offers these comments on the Graf sound:
286:
Thanks to their sturdy construction, Graf pianos have lasted for a long time. Over 60 of them have survived to the present day and can be found in many of the musical instrument museums of Europe and the United States.
122:
ten workers. In 1811, he relocated from the original suburban location to new quarters in the (more expensive) central city. In 1824 he was appointed as Royal Piano and
Keyboard Maker to the Imperial court in Vienna.
866:. Label: Naxos. Fortepianos by Thomas and Barbara Wolf after Johann Schanz (c. 1800, replica: 1997) and Nannette Streicher (c. 1815, replica: 1994) and by R. J. Reiger (Freeport, 1993) after Conard Graf (c. 1824).
113:
The Graf family had two children listed in census records: Karalina
Schelklin (born 1802), from Katherina's previous marriage, and Juliana Graf (born 1806). Katherina died in 1814, and Graf did not remarry.
346:
Viennese. Everything about their design is tailored to provide a long singing tone, which unfortunately can only be had at the expense of clarity and transparency. If you really love the music of
987:, p. 456, who examined a great number of surviving Graf pianos, gives the following: "Most references place it around 1825 on the basis of unidentified 'contemporary sources', and
142:
In 1835, Graf won a gold medal for his pianos in 1835 at the first
Viennese industrial products exhibition. His pianos were often owned and played by celebrated musicians (see below).
404:. The importance of the Graf to Beethoven's career is probably minor. According to Good, "the only work he wrote for piano after getting it was the four-hand transcription of the
509:
500:
in
England. The collection's web site suggests that Mahler simply could not afford a better piano at the time. Other musicians who owned or played Graf pianos included
542:
have created new copies of Graf pianos, and these non-dilapidated instruments have been adopted by a variety of modern performers for both concerts and recordings.
396:
Following
Beethoven's death in 1827, Graf took the piano back and sold it to the Wimmer family of Vienna. The instrument survives today and is on display at the
991:
reports seeing it in the summer of 1826. The evidence of labels and addresses ... supports a date no earlier than 31 January 1826 and possibly as late as 1827."
171:
Industrial
Association"), which he had helped to found in 1839. He died 18 March 1851 at the age of 69. His will left sizeable bequests to charitable causes.
1564:
Leppert, Richard (2002). "Cultural contradiction, idolatry, and the piano virtuoso: Franz Liszt". In James
Parakilas; E. Douglas Bomberger (eds.).
1498:
Gibbs, Christopher Howard (2006). "'Just two words. Enormous success': Liszt's 1838 Vienna concerts". In
Christopher H. Gibbs; Dana Gooley (eds.).
1379:
237:
Although Graf pianos had no metal frame, they were very strong. According to Wythe, "The frame members, constructed of five-ply laminated
1748:
690:. Label: Avi-Music. Played on fortepianos by Michael Rosenberger (1810), Conrad Graf (1827), Nannette Streicher & Sohn (1825),
1670:
134:
98:
in 1796 and migrated to Vienna in either 1798 or 1799. In 1800 he served briefly in an all-volunteer military unit, the Jäger
1526:
167:
During his retirement Graf served as a volunteer for a businessman's association, the Niederösterreichische Gewerb-Verein ("
275:. (The mirror-image motif created by bookmatching is visible in the illustration above.) The natural keys were normally of
314:
Owing to their heavier construction, Graf's pianos have a rather different sound from the pianos that prevailed through
524:
Of Graf's instruments, Wythe says they "represent the culmination of Viennese classical piano building in the style of
152:
Graf's business was successful enough for him to become an art collector, and he amassed an extensive collection. From
1545:
1507:
408:... and the indications are that he was playing very little even for himself in the last three years of his life."
1743:
1287:
1538:
Giraffes, Black Dragons, and Other Pianos: A Technological History from Cristofori to the Modern Concert Grand
679:
Tobias Koch, Riko Fukuda. Frédéric Chopin, Ignaz Moscheles, Felix Mendelssohn, Ferdinand Hiller, Franz Liszt.
454:
also admired instruments from Graf. He acquired one in 1832 which he used in the family house and recitals in
1486:
651:
Attilio Cremonesi, Anna Fontana. Johann Nepomuk Hummel, Ferdinand Ries, Johann Baptist Cramer, Jan Kalivoda.
478:
771:
Christoph Huntgeburth, Rolf Junghanns. Franz Schubert, Franz Xaver Wolfgang Mozart, Johann Nepomuk Hummel.
423:
Franz Liszt playing a Graf piano at an imagined gathering of his friends (1840, commissioned by Graf from
743:
Richard Burnett. Johann Nepomuk Hummel, Frédéric Chopin, Franz Schubert, Robert Schumann, Carl Czerny.
1703:
1690:
1682:
885:
290:
With a single exception, the surviving Graf pianos are grands. The exception is a notable one, an 1829
207:
145:
In 1840 Graf retired and sold the firm to Carl Stein, who was the grandson of the famous piano builder
1278:
Conrad Graf, Echtheitsbestätigung für den Flügel Ludwig van Beethovens, Wien, 26. Juni 1849, Autograph
513:
492:
owned and played a very old piano, a Graf from about 1836. The instrument is currently housed in the
1371:
249:
The weight of the dampers was also controlled: dampers for lower notes were made of a heavier wood (
713:
705:. Label: Harmonia Mundi. Played on Conrad Graf fortepianos Op. 1040 (1822-1823) and Op. 367 (1820).
572:
The Atlantis Trio (Penelope Crawford, Jaap Schröder, Enid Sutherland) Felix and Fanny Mendelssohn.
482:
343:
1695:
493:
315:
299:
1717:
842:. Label: Christophorus. Played on a copy by Christoph Kern (2019) of a Graf fortepiano (1826).
623:
Paul Schweinester, Andreas Mattersberger, Annette Seiler, Johannes Hinterholzer. Josef Netzer.
1653:
1588:
Winter, Robert (1987). "The emperor's new clothes: Nineteenth-century instruments revisited".
912:. Label: ÄŚeskĂ˝ rozhlas. Played on a copy by Paul McNulty (2008) of a Graf fortepiano (1819) .
905:. Label: Passacaille. Played on a copy by Paul McNulty (2012) of a Graf fortepiano (c. 1819) .
195:
1753:
1621:
658:
501:
1738:
1733:
1686:
988:
881:
849:. Label: Dynamic. Played on a copy by Andrea Restelli (2012) of a Graf fortepiano Op. 593.
525:
441:
412:
384:
327:
323:
260:
The exteriors of Graf's pianos were largely undecorated, emphasizing instead the beauty of
146:
63:
55:
8:
1413:
915:
832:. Label: Helicon. Played on a copy by R. J. Regier (1987) of a Graf fortepiano (c. 1824).
465:
In 1840, Graf gave one of his firm's grand pianos as a gift to the young piano virtuoso
362:
For downloadable sound files illustrating the tone of a Graf, see External Links below.
1644:
1607:
1590:
1575:
895:. Label: BIS. Played on a copy by Paul McNulty (2007) of a Graf fortepiano (c. 1819) .
445:
110:. When Schelkle died in 1804, Graf married his widow Katherina and took over the shop.
683:. Label: ARS Produktion. Played on Conrad Graf fortepianos (1830) and Op. 2258 (1835).
416:
Chopin continued to "cherish" Graf instruments during his subsequent career in Paris.
1541:
1522:
1503:
782:
579:
451:
164:
playing to an imagined gathering of his friends. The instrument portrayed is a Graf.
898:
354:, a Graf is just the thing for you, but if you are more interested in Beethoven and
187:
1649:
1630:
1599:
869:
814:. Label: Lyrinx Played on a copy by Christopher Clarke of a Graf fortepiano (1826).
793:
778:
231:
701:
Pierre-André Taillard, Edoardo Torbianelli. Carl Maria von Weber, Ferdinand Ries.
132:
Graf's firm eventually produced over 3000 instruments during his lifetime. As the
474:
470:
436:
424:
397:
351:
347:
153:
126:
91:
67:
43:
28:
922:. Label: Avi Music. Played on a copy of a Graf instrument made by Paul McNulty.
859:
835:
719:
712:. Label: Channel Classics. Played on fortepianos by Conrad Graf (c. 1830) and
596:
505:
466:
355:
339:
215:
125:
By 1826, the increasing demand for his pianos had led Graf to adopt methods of
102:, then became apprenticed to a piano maker named Jakob Schelkle, who worked in
83:
71:
59:
1676:
1634:
768:. Label: Brilliant Classics. Played on Conrad Graf fortepiano Op. 1092 (1826).
761:. Label: Brilliant Classics. Played on Conrad Graf fortepiano Op. 1092 (1826).
754:. Label: Brilliant Classics. Played on Conrad Graf fortepiano Op. 1092 (1826).
729:
Stephen Preston, Jennifer Ward Clarke, Richard Burnett. Carl Maria von Weber.
672:. Label: Genuin. Played on fortepianos by Conrad Graf Op. 1181 (c. 1826) and
630:
Maria Erlacher, Andreas Lebeda, Nikolaus Walch, Annette Seiler. Josef Netzer.
1727:
695:
673:
489:
291:
253:), vs. lime in the treble. The lowest 13–17 dampers were weighted with lead.
227:
168:
856:
Label: Harmonia Mundi. Played on a replica of a Graf 1824 made by R. Regier.
606:
545:
459:
405:
1698:
Graf op. 318 ca. 1819 piano copy by Paul McNulty in Chopin Institute Warsaw
877:
804:
655:. Label: Musikmuseum. Played on Conrad Graf fortepiano Op. 2003 (c. 1835).
529:
331:
319:
261:
219:
668:
Tobias Koch. Norbert BurgmĂĽller, Felix Mendelssohn, Friedrich BurgmĂĽller.
179:
966:
For a partial inventory with descriptions of individual instruments, see
822:
432:
294:(a kind of upright) built on commission and extravagantly decorated with
264:
161:
24:
562:. Label: paladino music. Played on Conrad Graf fortepiano (after 1828).
372:
223:
95:
87:
39:
1611:
473:. When Schumann died in 1856, Clara gave the instrument to her friend
103:
1435:"I Międzynarodowy Konkurs Chopinowski na Instrumentach Historycznych"
1302:
800:. Label: Oehms. Played on Conrad Graf fortepiano Op. 1207 (c. 1827).
698:
by Späth und Schmahl (1790) and Nannette Streicher fortepiano (1816).
603:
Label: Hungaraton Classics. Played on Conrad Graf ca.1835 fortepiano.
497:
419:
303:
99:
611:
Musik auf historischen Instrumenten aus dem Erbdrostenhof zu MĂĽnster
1603:
295:
272:
1084:
757:
Eleonora Contucci, Costantino Mastroprimiano. Norbert BurgmĂĽller.
620:. Label: MDG. Played on Conrad Graf fortepiano Op. 1810 (c. 1835).
953:
For discussion of the painting's characters and iconography, see
691:
665:. Label: Musikmuseum. Played on Conrad Graf fortepiano (c. 1835).
648:. Label: Musikmuseum. Played on Conrad Graf fortepiano (c. 1835).
477:, who used it for his work until 1873. He then donated it to the
1451:
1131:
1234:
639:
Lieder ohne Worte, Rondo capriccioso & Variations sérieuses
455:
338:"Graf's instruments represent an aesthetic which is more proto-
268:
242:
107:
47:
1372:"[PDF] Mendelssohn and His World by R. Todd | Perlego"
798:
Sängerfahrt, Op.33, und Andere Lieder nach Gedichten von Heine
747:. Label: SKC. Played on Conrad Graf fortepiano Op. 988 (1841).
641:. Label: Musikmuseum. Played on Conrad Graf fortepiano (1835).
634:. Label: Musikmuseum. Played on Conrad Graf fortepiano (1835).
627:. Label: Musikmuseum. Played on Conrad Graf fortepiano (1835).
508:. In September 2018 a Graf 1819 replica was used in the first
19:
1038:
1036:
726:. Label: Deux-Elles. Played on Conrad Graf fortepiano (1826).
593:. Label: Titanic. Played on Conrad Graf fortepiano (c. 1829).
555:. Label: belvedere. Played on Conrad Graf fortepiano (1839).
378:
298:, an ornamental urn, and other sculptures. It is kept in the
280:
276:
250:
51:
1434:
1330:
1328:
750:
Eleonora Contucci, Costantino Mastroprimiano. Hugo Staehle.
469:(Friedrich's daughter), on the occasion of her marriage to
401:
1033:
740:. Label: Amon-Ra. Played on Conrad Graf fortepiano (1826).
733:. Label: Amon-Ra. Played on Conrad Graf fortepiano (1826).
613:. Label: FSM. Played on Conrad Graf fortepiano (c. 1835).
1325:
569:. Label: MDG. Played on Conrad Graf fortepiano (c. 1835).
546:
Recordings made with originals fortepianos of Conrad Graf
238:
1143:
805:
Recordings made with replicas fortepianos of Conrad Graf
789:. Label: Globe. Played on Conrad Graf fortepiano (1826).
586:
Label: Astree. Played on a Conrad Graf 1824 fortepiano.
551:
Esther Hoppe, Florian Birsak. Wolfgang Amadeus Mozart.
775:. Label: FSM. Played on Conrad Graf fortepiano (1824).
736:
Ralph Holmes, Richard Burnett. Johann Nepomuk Hummel.
510:
International Chopin Competition on Period Instruments
1701:
589:
Daniel Paul Horn. Franz Schubert, Felix Mendelssohn.
1619:
Wythe, Deborah (1984). "The pianos of Conrad Graf".
1352:
1340:
1257:
1075:
1073:
1071:
1069:
1067:
708:
Thomas Oliemans, Paolo Giacometti. Robert Schumann.
591:
Wanderings: Fanatasies of Schubert & Mendelssohn
1096:
1021:
576:. Label: Musica Omnia. Played on a Graf fortepiano.
1554:
1463:
1457:
1400:
1313:
1245:
1205:
1203:
1201:
1176:
1174:
1172:
1170:
1155:
1137:
1090:
967:
118:apprenticeship with an obscure provincial maker."
1573:Schott, Howard (1977). "Liszt and the keyboard".
1215:
1121:
1119:
1117:
1115:
1113:
1111:
1064:
1054:
1052:
840:Nachthimmel: Lieder von Schubert, Zelter, Dalberg
1725:
1555:Kottick, Edward L.; Lucktenberg, George (1997).
1186:
1673:from a modern Graf replica made by Paul Poletti
1198:
1167:
326:'s musical careers; for example those built by
1557:Early Keyboard Instruments in European Museums
1291:, James Clarke & Co. 1877, Vol. 53, p. 110
1108:
1049:
663:Zukunftsmusik: Die letzten drei Klaviersonaten
920:Wanderer Fantasy. Impromptus opp.90 & 142
852:Kristian Bezuidenhout. Ludwig van Beethoven.
1010:
1008:
764:Costantino Mastroprimiano. Frédéric Chopin.
156:he commissioned in 1840 the famous painting
845:Costantino Mastroprimiano. Franz Schubert.
876:. Label: BIS. Played on a copy of a Graf,
864:Romantic Variations, Fantasies and a Rondo
379:Graf pianos played by celebrated musicians
1005:
1559:. Bloomington: Indiana University Press.
1516:
1334:
893:Complete Works for Piano & Orchestra
891:Ronald Brautigam. Carl Maria von Weber.
618:FantasiestĂĽcke Op. 12, Humoresque Op. 20
418:
194:
186:
178:
18:
1689:plays on a modern Graf replica made by
1654:10.1093/gmo/9781561592630.article.11581
1642:Wythe, Deborah (2001). "Graf, Conrad".
1566:Piano Roles: A New History of the Piano
1563:
954:
926:
828:The Helicon Ensemble. Robert Schumann.
230:, piano and pianissimo moderators, and
1726:
1587:
1572:
1469:
1161:
821:. Label: Phaedra. Played on a copy by
1641:
1618:
1497:
1358:
1346:
1274:
1272:
1263:
1221:
1209:
1180:
1149:
1125:
1102:
1079:
1058:
1043:
1027:
1015:
984:
722:, Emma Abbate. Carl Maria von Weber.
1535:
1485:
1319:
1251:
1192:
980:
908:Petra Matejová. Jan Václav VořÚek.
387:a 6½-octave piano triple-strung to C
158:Franz Liszt Fantasizing at the Piano
1568:. New Haven: Yale University Press.
817:Tatiana Loguinova. Mikhail Glinka.
686:Tobias Koch. Ludwig van Beethoven.
637:Annette Seiler. Felix Mendelssohn.
365:
90:in south Germany, in what was then
86:, studying the craft in his native
13:
1269:
558:Natalia Rehling. Frédéric Chopin.
77:
14:
1765:
1696:"The Piano in Polish collections"
1664:
710:Lieder: Dr. Jekyll & Mr. Hyde
644:Annette Seiler. Robert Schumann.
1711:
1493:(4th ed.). Brookside Press.
565:Hardy Rittner. Frédéric Chopin.
481:; today it is on display in the
174:
1749:People from the Austrian Empire
1427:
1406:
1393:
1382:from the original on 2021-06-27
1364:
1295:
1281:
1227:
973:
960:
947:
901:, Zvi Meniker. Franz Schubert.
458:, and later another for use in
54:maker. His pianos were used by
1502:. Princeton University Press.
1458:Kottick & Lucktenberg 1997
1401:Kottick & Lucktenberg 1997
1138:Kottick & Lucktenberg 1997
1091:Kottick & Lucktenberg 1997
968:Kottick & Lucktenberg 1997
938:
847:Sonatas D. 157, D. 664, D. 850
625:Lieder & Duett Die Loreley
584:Fantaisie Pour le Piano-forte.
1:
1540:. Stanford University Press.
1536:Good, Edwin Marshall (1982).
979:Sources differ on this date.
874:Complete Works for Solo Piano
854:Piano Concertos Nos. 2&5.
810:Pierre Goy. Frédéric Chopin.
670:Complete Works for Pianoforte
616:Jörg Demus. Robert Schumann.
560:Sonata No. 2, Preludes op. 28
519:
479:Gesellschaft der Musikfreunde
200:
970:, index entry "Conrad Graf".
825:of a Graf fortepiano (1825).
819:Treasures for the Pianoforte
488:During the 1880s, the young
7:
1521:. Oxford University Press.
1399:Source for this paragraph:
1014:Source for this paragraph:
601:Piano Sonatas D.850, D.568.
183:Graf piano with four pedals
160:(shown below), which shows
94:. He reached the status of
82:Graf began his career as a
16:Austrian-German piano maker
10:
1770:
1479:
759:Lieder, Piano Sonata Op. 8
738:Works for Violin and Piano
208:National Museum of Denmark
199:Detail on pianoforte from
1517:Goldberg, Halina (2008).
983:, p. 91 gives 1824.
944:German: "moonlight house"
514:Fryderyk Chopin Institute
411:In 1829, the 19-year-old
206:in the collection of the
50:) was an Austrian-German
1519:Music in Chopin's Warsaw
872:. Ludwig van Beethoven.
830:A Schumann Salon Concert
745:FThe Romantic Fortepiano
714:Johann Baptist Streicher
483:Kunsthistorisches Museum
309:
1659:(subscription required)
1635:10.1093/earlyj/12.4.447
724:Complete Keyboard Duets
222:could also include the
1744:People from Riedlingen
1416:. The Cobbe Collection
1414:"Mahler's Grand Piano"
1307:beethoven-haus-bonn.de
731:Flute Trio and Sonatas
539:
428:
210:
192:
184:
32:
903:The Small Song Cycles
688:Complete Piano Pieces
553:Mozarts Costa-Violine
534:
502:Friedrich Kalkbrenner
444:piano lent to him by
422:
383:In 1826 Graf lent to
198:
190:
182:
38:(17 November 1782 in
22:
1687:Vladimir Sofronitsky
1378:. pp. 287–293.
989:Gerhard von Breuning
927:Notes and references
910:Rhapsodies, Fantasia
884:fortepianos made by
773:Romantic Flute Music
752:Mädchenliebe: Lieder
703:Grand Duo Concertant
431:The famous virtuoso
385:Ludwig van Beethoven
328:Johann Andreas Stein
191:Piano by Conrad Graf
147:Johann Andreas Stein
1576:Music & Letters
1500:Liszt and His World
1152:, pp. 448–449.
957:, pp. 203–204.
916:Viviana Sofronitsky
676:Op. 8777 (c. 1835).
609:. Robert Schumann.
106:, then a suburb of
46:– 18 March 1851 in
1645:Grove Music Online
1591:19th-Century Music
1289:The literary world
918:. Franz Schubert.
862:. Ferdinand Ries.
785:. Franz Schubert.
661:. Franz Schubert.
599:. Franz Schubert.
582:. Franz Schubert.
446:Sigismond Thalberg
429:
279:and the sharps of
211:
193:
185:
33:
1528:978-0-19-513073-7
1337:, pp. 43–44.
1093:, pp. 89–90.
796:. Franz Lachner.
783:Jos van Immerseel
580:Paul Badura-Skoda
452:Felix Mendelssohn
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794:Christoph Hammer
779:Michael Schopper
537:piano building.
494:Cobbe Collection
392:
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366:Graf as inventor
322:'s, and much of
205:
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135:Grove Dictionary
74:, among others.
1769:
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812:Chopin Ă vienne
807:
694:(ca. 1800) and
567:Complete Etudes
548:
522:
475:Johannes Brahms
471:Robert Schumann
437:Friedrich Wieck
425:Josef Danhauser
413:Frédéric Chopin
389:
388:
381:
368:
312:
203:
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154:Josef Danhauser
127:mass production
92:Further Austria
80:
78:Life and career
44:Further Austria
29:Josef Kriehuber
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1665:External links
1663:
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1598:(3): 251–265.
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23:Conrad Graf (
21:
1754:Piano makers
1691:Paul McNulty
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1739:1851 deaths
1734:1782 births
1671:Sound files
1622:Early Music
1487:Fine, Larry
1470:Winter 1987
1162:Schott 1977
823:Chris Maene
766:Early Works
659:Tobias Koch
526:J. A. Stein
485:in Vienna.
467:Clara Wieck
433:Franz Liszt
262:bookmatched
204: 1825
162:Franz Liszt
36:Conrad Graf
1728:Categories
1444:2021-06-19
1420:2016-04-03
1386:2021-06-19
1359:Gibbs 2006
1347:Gibbs 2006
1264:Wythe 1984
1222:Wythe 2001
1210:Wythe 1984
1181:Wythe 1984
1150:Wythe 1984
1126:Wythe 1984
1103:Wythe 1984
1080:Wythe 2001
1059:Wythe 1984
1044:Wythe 1984
1028:Wythe 1984
1016:Wythe 1984
999:References
985:Wythe 1984
607:Jörg Demus
520:Assessment
460:Dusseldorf
350:and early
342:than late-
224:soft pedal
96:journeyman
88:Riedlingen
40:Riedlingen
25:lithograph
1320:Good 1982
1252:Good 1982
1193:Fine 2004
981:Good 1982
681:Grand Duo
498:Guildford
373:stringing
344:classical
324:Beethoven
304:the Hague
296:caryatids
100:Freikorps
56:Beethoven
1489:(2004).
1439:iccpi.eu
1380:Archived
512:(run by
390:♯
356:Schubert
348:Schumann
340:Romantic
273:mahogany
60:Schubert
1683:YouTube
1480:Sources
716:(1847).
692:orphica
265:veneers
104:Währing
31:, 1830)
1704:Portal
1612:746380
1610:
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1544:
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1303:"Home"
1235:"Home"
878:Walter
632:Lieder
456:Berlin
352:Brahms
316:Mozart
269:walnut
243:spruce
216:action
108:Vienna
68:Robert
66:, and
64:Chopin
48:Vienna
1678:Audio
1608:JSTOR
932:Notes
882:Stein
496:near
442:Erard
320:Haydn
310:Sound
281:ebony
277:ivory
251:beech
52:piano
1542:ISBN
1523:ISBN
1504:ISBN
880:and
528:and
504:and
402:Bonn
318:'s,
271:and
241:and
70:and
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400:in
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239:oak
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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