The Gebr. Perzina Harpsichord and Its Remarkable Jankó Keyboard

Among the many historic keyboard instruments preserved in museums, few attract as much curiosity as the Gebr. Perzina harpsichord with its extraordinary Jankó keyboard. At first glance, the instrument resembles a traditional harpsichord, but a closer look reveals a keyboard unlike any most musicians have ever encountered. Instead of the familiar pattern of white and black keys, the keyboard consists of several staggered rows of narrow keys, giving it an almost futuristic appearance.

This unusual layout is known as the Jankó keyboard (Jankóklaviatur), one of the most ambitious innovations in the history of keyboard design. It was invented in 1882 by the Hungarian pianist and engineer Paul von Jankó, who believed that the traditional piano keyboard could be greatly improved. His aim was to create a layout that was easier to play, more comfortable for the hands, and more logical for learning music.

The Jankó keyboard uses six staggered rows of keys, with each musical note appearing three times in different positions. Although there are many more visible keys than on a conventional keyboard, they produce the same notes. This clever arrangement means that scales, chords and intervals always use exactly the same fingering, regardless of the key. A pianist who learns a C major scale can immediately play the same pattern in D major, E major or any other key simply by moving the hand to a different starting note.

The design also offers important ergonomic advantages. Because the keys are arranged more closely together, large stretches become much easier, making octaves and complex chords accessible even to players with smaller hands. Fast passages can be performed with less movement, while awkward fingerings that challenge pianists on a traditional keyboard become much more natural.

The Gebr. Perzina harpsichord demonstrates how builders continued to experiment with keyboard technology during the late nineteenth century. Although the harpsichord itself was inspired by much earlier instruments, fitting it with a Jankó keyboard created a fascinating blend of historical craftsmanship and modern innovation. It reminds us that instrument makers were not simply copying established designs but were continually searching for better ways to help musicians perform.

When the Jankó keyboard was introduced, it attracted considerable attention. Major manufacturers including Steinway & Sons, Bechstein, Blüthner and Ibach experimented with the design, and the inventor demonstrated it extensively throughout Europe. Many musicians admired its logical layout, and the celebrated pianist Franz Liszt reportedly spoke positively about the invention. Yet despite its clear advantages, the keyboard never became widely adopted.

The reason was not that the design failed, but that the world had already standardised on the traditional piano keyboard. By the late nineteenth century, millions of musicians had learned the conventional layout, teachers were trained to teach it, and concert halls everywhere owned standard pianos. Switching to an entirely new system would have required an enormous change in musical education, publishing and instrument manufacture. Tradition ultimately proved stronger than innovation.

Today, the Gebr. Perzina harpsichord stands as a fascinating reminder that the keyboard we know today was not the only possible solution. Its striking Jankó keyboard invites visitors to imagine an alternative musical history—one in which every scale had the same fingering, every key felt equally comfortable, and keyboard players learned a completely different approach to making music.

For visitors exploring historic keyboard collections, the instrument is more than an unusual curiosity. It tells the story of invention, experimentation and the enduring quest to make music easier and more expressive. More than a century after its creation, the Gebr. Perzina harpsichord continues to surprise and inspire everyone who encounters its remarkable keyboard.