Downright Upright: A History of the Canadian Piano Industry

Desmond Maley is a librarian at the J.W. Tate Library, Laurentian
University.

No musical instrument more closely reflects the course of the Industrial
Revolution than the piano. It was first developed in the late eighteenth
century, and technical innovations in the nineteenth century gave the
instrument tremendous dynamic range and brilliance. Piano factories
sprang up, with the number of units built eventually reaching the tens
of millions. What historian Donald Jay Grout described as “the
household orchestra” was a source of basic entertainment in homes
across the world.

Canada once had a thriving piano industry. As Kelly shows in this
lavishly illustrated history, Canadian pianos were recognized
internationally for the quality of their materials and craftsmanship.
The T. Eaton Company shipped pianos via rail all across Canada, and
Canadian-made pianos could be found everywhere from Japan to the royal
houses of Europe.

Downright Upright profiles manufacturers like Bell, Dominion,
Heintzman, Lesage, Mason & Risch, Nordheimer, and Sherlock-Manning.
Piano serial numbers are included. There is a list of all the known
names of pianos manufactured in Canada, in addition to the names of
individuals and companies known to have been involved as manufacturers.
There is also a buyer’s guide and brief chapters on manufacturers of
related instruments like the organ and the player piano.

The reasons for the demise of the Canadian industry could have been
explored more fully. Kelly does note that the introduction of
alternative entertainments (like the phonograph in the 1920s) led to a
decline in sales. The Depression also dealt a crippling blow. Still,
there were companies that continued to operate even into the 1980s. Not
until the demise of Sherlock-Manning in 1988 did the industry finally
breathe its last.

A pivotal factor was the emergence of global monopolies following World
War II. In the long run, the smaller Canadian enterprises simply could
not compete against such giants as Steinway and Yamaha. Kelly might also
have noted that a consequence of this trend was increased uniformity of
instrumental design and sonority. Nevertheless, this book is a
worthwhile read for anyone with an interest in the history of the piano
in Canada.