Mathushek

[Robin Hufford]

Hello Steve,
      There are two differing, older models of Mathushek uprights, from the
1880 and 1890 -1920 period, at least, that I am aware of.  I am curious to
know which you have.  These two pianos also have two different actions.
One the first version, with the very elaborate action Thump describes has
ribs radiating from a focal point under the highest treble.   The tone on
this piano, although powerful, is not compelling interesting to my ear,
although still very nice.
     The second piano, though, has an extremely musical sound, one of the
very best and, when people remark on this piano they usually comment on the
sound.  The action in this piano, which itself succeeded the first in
production, in the mid 1890's,  is a much more conventional action, that
is, greatly simplified of the elaborate features decribed by Thump, which
exist on its predecessor, and, are, as he says, a thing of amazement.  This
action is much, much, more likely the normal action found on the
high-quality pianos of the period.
     I have rebuilt one of each model and can tell you they are wonderful
pianos.
     The second version has - something frequently found with old Mat's
pianos, although, actually, I think the old guy was probably already dead
by the time his company came up with this innovation, a distinctive
soundboard patented under the name "Duplex" soundingboard.  To a glance
from the front of the piano the board appears entirely conventional but
this is not the case.  In reality it is 3/4 of an inch thick throughout,
lacks ribs, and apparently was built with no crown.  Technicians say such a
thing cannot be, or work, yet they should hear the piano before
commentary.  Afterwards, they, no doubt, will think otherwise.
     Knowing of this design, and being as impressed as I was with the sound
upon rebuilding, I showed the piano to 8 or 9 technicians without telling
them of the unique features of the board.  Some, being pianists were asked
then to play, and all were asked to comment on the sound.  All thought the
piano remarkable, one of the best they had ever heard.  About half thought
it was the best sounding upright they had ever heard.  There were several
RPT's among this group, and several accomplished rebuilders:  none detected
anything amiss, and all were incredulous on being told the board lacked
ribs and insisted on being shown the back of the board and its absence of
ribbing.
     I was, however, aware of one difficulty which the piano had, although
none detected this:  a relative difficulty when compared to more
conventional boards, of obtain fff at the attack on a hard blow.  This was
something I had attempted to rectify with various tone-building techniques
which had brought the piano to an acceptable range in this regard, although
I would have wished for somewhat more.  Altogether the two pianos are a
most interesting contrast, one, intensely highly ribbed, particularly in
the treble, the other lacking ribs at all.
     I believe Mathusek did not work at Steinway as his company predates
theirs, I think.  However, they took many design features from his ideas, I
think, although I may be wrong on this.
Regards, Robin Hufford

> I was zipping through the e-mails when I noticed one of my clients
> wanted me to bid on repairing an old Mathushek upright.  Haven't worked
> on one in decades.  Wouldn't you know, this same day I looked at the
> digest over the last two days and this same Mathushek is up for
> discussion.  Save the parts, I may need a few.
> Steve Ganz
>
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