The first pianos, built by Cristofori in Florence near the turn of the eighteenth century, were already ‘grand’ pianos, their shape derived from that of the harpsichord. The invention gradually began to spread across the continent, and by the mid-1780s grand pianos were common instruments in London. This pan-European development stands in stark contrast to the grand piano’s reception in France, where the harpsichord reigned supreme. Indeed, until the 1760s, the piano—regardless of its size or shape—was almost completely absent from the French musical scene, and it was not until around 1810 that the grand piano became a frequently used instrument in France. Without a sonorous instrument capable of projecting an interesting palette of nuanced effects in a moderate to large space, it was difficult to develop an independent repertoire for the piano. The eventual adoption of the grand piano in France was largely due to the efforts of the Erard brothers, who were familiar with this type of instrument from their contacts with the Silbermanns in Strasbourg and English builders in London. The Erard grand piano responded to an increasing desire on the part of French musicians for pianos with a stronger tone, undoubtedly to better balance other string and wind instruments which were also evolving towards more sonorous models.