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performer were so luxurious as to have as many
pianos as there are keys in which his music is
written, and each piano were tuned as correctly
as possible to one particular key, he might
successfully compete with the one-key barrel organs
which I have described. By tripping from one
piano to another when a modulation occurs, he
might even excel the barrel organ in accuracy
of tune, to say nothing of his other advantages
in expression and range of composition.
To show that the above remarks are not dictated
by an ill-will towards the pianoforte, or any unfair
favour to the grinding organ, due to the fact that
I can perform on one instrument but not on the
other, I will conclude these remarks with a
practical suggestion, viz. that some of our modern
pianists, who are scientific as well as mechanical
musicians, such, for example, as Walter Bach, or
Franklin Taylor, should demonstrate the uttermost
capabilities of the pianoforte, by publicly
performing on instruments specially tuned for the
key in which the selected compositions are written,
without any tempering, and having, if necessary,
a second or third instrument on either side, which
the performer could reach with or without a bound
when an important or sustained modulation or
change of key occurs. Such a performance would
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