JOHN BROADWOOD

John Broadwood was working in London in the 1760s when the pianoforte became fashionable. He was at that time employed by the Swiss-born harpsichord maker Burkat Shudi, in Great Pulteney Street, but after marrying Shudi's youngest daughter Barbara in 1769 Broadwood became a partner in the business. Soon after this Shudi retired from active work, though he remained a partner until his death in August 1773.

John Broadwood then continued the workshop alone. Though nominally in partnership with Shudi's only surviving son (also Burkat), Broadwood was actually in sole charge as young Shudi was left no share in the business by his father. At first the workshop continued as before, making only harpsichords. Eventually Broadwood began making pianos too, but, out of respect for his former master and father-in-law, the business retained the name 'Shudi & Broadwood', and all newly-made instruments were inscribed as shown below.

The photo shows a harpsichord with machine stop and swell pedal, at the Bate Collection, Oxford, restored by Michael Cole, 1993.

Note that the word Patent at the end of this inscription relates to the 1769 grant to Burkat Shudi, which he later transfered to Broadwood [for continuing royalties]. This patent expired after the usual term of fourteen years in 1783, at which point Broadwood applied for a patent of his own for his distinctive design for square pianos. Consequently all Broadoowd square pianos lack the word Patent until December 1783.

So when did Broadwood begin making pianos?

Broadwood's oldest surviving specimens are two square pianos made in 1780. (One is now in Switzerland, the other in Canada.) Above the keys they are both inscribed exactly as shown above, in the same hand, on the same style of cartouche.  These early pianos from Broadwood (at 20 guineas) are very plain, and have no pedals or handstops. Their general appearance is very much like this piano:

The very simple trestle stand shown here is typical, but from 1785 some of Broadwood's square pianos were supplied with a more elegant 'French frame' stand, with square tapered legs. Some had a further refinement being handsomely bordered in satinwood, and inlaid with elaborate bandings of exotic timbers — at an extra charge of five guineas. Another optional extra (for two guineas) was a 'swell' pedal, raising part of the lid. But the common pedal which most pianists look for, the sustaining pedal usually expected under the right foot, was very rarely provided on John Broadwood's square pianos made before 1800. From 1780 until c.1805 John Broadwood's square pianos were fitted with brass under-dampers, the hammers being hinged on pieces of alum-cured goatskin as seen below.

Completely original hammers and dampers, Broadwood, 1792. [N.B. The cover rail was removed for this photograph to display the hinges]

It was in 1785 that Broadwood began selling grand pianos. Like his square pianos they had exactly five octaves. But from 1793 five-and-a-half octaves became the norm for these larger instruments, though five octave examples were still commonly supplied. A grand piano of John Broadwood's make is shown below.

Broadwood Grand, 1802, restored by Michael Cole

From 1795 onwards Broadwood's square pianos usually had a keyboard of five-and-a-half octaves too, but simple five octave examples are known from dates up to 1802.

By 1808 John Broadwood had been joined by two of his sons – James from his first marriage to Barbara Shudi (she died in 1774: the marriage lasted less than five years), and Thomas from his second marriage to Mary Kitson (who died in 1839, long after her husband). Together these brothers developed the business so that it became the biggest piano manufacturing firm the world has ever seen. Until 1850 square pianos remained their best selling product, the later ones having six-and-a-half octaves and a metal plate inside. Many hundreds survive from various periods.

Square piano by John Broadwood & Sons, 1818

Broadwood Square Pianos

A new biography of John Broadwood, describing his progress as perhaps the most eminent piano maker ever, and emphasising the important role of square pianos as his principal product line. In hardback, 205 pages, with more than 60 illustrations, it  incorporates significantly revised biographical information, social and musical contexts for these pianos, details of construction and production figures, and serial numbers etc.

UK Price £35 (incl. post and packing) if purchased directly from Tatchley Books (with the option of having the book signed by the author); also available to order from bookshops, price £45.

Book contents and more information

UK clients: send a cheque for £35 payable to 'Tatchley Books' at 334 Prestbury Road, Cheltenham, GL52 3DD.  Or use PayPal button below.