Loud Brothers

In 1802, Thomas Loud, Sr. of London, was the first known pianoforte-maker to originate overstringing. He produced an upright that, according to the specification of his patent on this instrument, was the real precursor in build and general characteristics of the perfected instrument of the late 19th century, but it was not known if Loud ever carried out his plans to a logical issue in London. He emigrated to New York City as early as 1816. In 1822, he had a small repairing and making shop, at 102 Canal Street, which he occupied for several years, but moved to Walker Street in 1828, and later, between 1831 and 1833, he was on Broadway near Grand Street. In order to emphasize his national origin as a piano-maker, Loud had over his store the sign, "Thomas Loud, pianoforte-maker from London". Other old pioneer piano-makers of New York remembered Loud distinctly on this account, but he was never known to any of them as a maker of significance. Thomas Loud, Sr. died in February 1834, at 52 Vandam Street.^[3]

Thomas Loud, Sr. had at least four sons, Thomas Loud, Jr., Philologus, John, and Joseph. Thomas Loud, Jr. must have been in Philadelphia as early as 1811. Whether the brothers came over from London separately or collectively before 1824 is not clear.^[3]

Thomas Loud, Jr., was in business in Philadelphia as early as 1816. In 1817, he was located at Prune and Fifth streets. In 1818, he took his brother into partnership and moved to 361 High Street, later Market Street, where they carried on business as "Thomas & John Loud".^[3]

In 1822, the brother, Philologus, was taken into partnership, whereupon the name of "Loud Brothers" appeared for the first time. Loud Brothers, in 1824, were the most extensive makers of pianos in the U.S. In this single year, they claimed to have made 680 instruments, which was a large output for such a comparatively remote period, particularly when the use of pianos was limited almost to the very wealthy classes.^[3]

In 1825, Loud Brothers were well represented at the second exhibition of the Franklin Institute. They were outclassed in one direction by Alpheus Babcock, of Boston, to whom the premium for the best square was awarded, but carried off the premium for the best upright piano. The “Committee on Premiums" set forth a description of Loud Brothers' instrument in this manner: "Premium No. 46-to the manufacturer of the best upright or cabinet piano—is awarded to Loud Brothers for specimen No. 172, being an upright pianoforte of rosewood, which is considered a masterpiece of these excellent artists. It is finished in the best style, has a fine full tone and a very good touch; it is, moreover, a beautiful piece of furniture and decidedly entitles the makers to the silver medal, being the best of the four upright pianos exhibited." In the "Judges' Report" of this event, besides giving the same views in relation to the upright selected for the premium, they expressed the following opinion upon another upright exhibited by Loud Brothers, as subjoined: “The mahogany upright by the saine makers is not of so high a class as the preceding, and is not exhibited with the same pretensions. Its tone is not so equal, although resembling the former in quality. Its touch is also inferior, yet it deserves the character of an excellent instrument."^[3]

The Louds were famous in their day and were very progressive and revolutionary in their methods. In 1826, they won particular notoriety owing to a grand they made for an eccentric Louisiana planter named Gordon. This individual was a driver of a Broadway stage in New York City ten years before, who, owing to the death of a Southern relative, found himself suddenly lifted into the arms of “Queen Money." Upon coming into possession of several large Southern plantations, besides a solid bank residue, he became anxious to outdo all his Southern neighbors in the matter of display. This had some meaning, principally because he found these supporters of the American Constitution too proud to acknowledge him as an equal on account of his former occupation. Gordon thought of a commonplace manner of revenging himself, as he thought, upon these people. He accordingly erected a magnificent residence, furnished it in the most elaborate way imaginable, filled his stables with the best-blooded horses in the country, and carried his schemes to the most eccentric point. The most peculiar feature of Gordon's actions was that he engaged an excellent orchestra to play specially for the amusement of himself and his visitors, who were mostly persons from the North. He went to Loud Brothers in Philadelphia, and paid them an extraordinary price to make him the most elaborate and remarkable pianoforte ever made in the United States up to that year. The Louds in their effort to be extraordinary, therefore, in accordance with the price agreed upon, produced an instrument having a compass of seven and one-half octaves,^[6] the most extensive range ever reached before that period ; but it was absolutely worthless from a musical standpoint, so musicians said. The case was described as being a marvel of cabinet art, the designing being done by the best artists of the period. It was adorned externally all over with paintings in the allegorical style, and created an absolute furor in New York and Philadelphia among musical and art people, aside from the fact that it excited the eninity and curiosity of the fashionable people to an extent entirely human and easily understood.^[3]

On May 15, 1827, Thomas Loud, Jr., took out a patent for his down-striking action, which was a very ingenious piece of mechanism and a remarkable development in action evolution, for its time, but it came to nothing practically.^[3]