http://pandapie.friendlinkup.com/ A blog by pandapie en http://pandapie.friendlinkup.com/2008/09/13/impact-of-the-piano-invention-on-the-society.html Society as well as Music  Vienna being rich, full of nobility as well as great centre of commerce as well as money lending, they could afford numerous material things which include buying a piano. Leopold I bought harpsichord in every room of his palace, convenient to endeavour out new ideas if it suddenly occur to him. The number of concerts held also increase at the end of 1780. Music is a good lubricant of advancement, a social balm. Newly rich people feel that by cultivating musical interest as well as talents allows them to feel more high class. It’s because of the fact that of the rich people that give to society wealth to upgrade on music, encourage the genius of Haydn, Mozart, Beethoven, as well as Schubert to unfold their talents. Piano becomes Business  Nanette (Stein’s daughter) as well as her brother continue making piano as well as an estimated all Viennese bought them. Factory production do not affect the individual craftsman makers. A piano maker who expands into a factory ceases to be a craftsman is referred to as a businessman. There is a practice of paying commissions to the musicians so that the piano makers themselves can earn more money. Piano makers shall advertise by borrowing a famous or well connected musician name like Beethoven to present their instrument.  Music Business Grows Wide as well as Shallow  Music bought to play on pianofortes grew at the end of 1790; as the quantity grew greater, the average quality grew poorer. Finest music require skill as well as cultivation but very few people are cultivated as well as skill. They only interested in making more money. As time advance, the music on behalf of piano tends to be an estimated monopolizing all publication as well as performance. Piano is the easiest of all instruments to play a little, the perfect tool on behalf of person of small talent as well as ambition. Intonation of the piano is up to the tuner as well as there little problem on tone production (nothing like the hazard of embouchure or bowing attack); any imbecile can press down a light level. Piano can manufacture both melody as well as harmony (easy chords are easy to play on it) or it can play on it’s posses without having much problem of co-ordination with other players. Piano is a good looking ‘furniture’ as well as expensive to be proud of. http://pandapie.friendlinkup.com/2008/09/13/impact-of-the-piano-invention-on-the-society.html Sat, 13 Sep 2008 22:49:42 -0400 pandapie http://pandapie.friendlinkup.com/2008/09/12/beethoven-and-his-pianos.html  As early as 1802, nearly 150 piano-makers in as well as aroundVienna were eager to manufacture a piano on behalf of Beethoven (without charge) but he was only willing to pay on behalf of one. Beethoven’s favorite keyboard instruments were the Broadway (introduced in 1820) as well as Graf pianos (1831, four years at the end of the composer death). In his youth, he played mostly on the clavichord, harpsichord as well as organ. However at his adult age, pianofortes were common which include those made by Stein, Bohm, Erard, Schantz, as well as Streicher.  Due to advance technology, pianos at Beethoven era had different sound due to different instrumental timbre as well as variant resonance. The instruments had hammers covered with layers of leather, not pad of felt. The keys were different as well as light in touch to the fingers. The key beds were shallower than those of today’s piano as well as produce different kind of tone which retain the nature as well as nuances of sound which Beethoven as well as his contemporaries heard. Hammerklavier Sonata was composed with the clear implication being that it was intended on behalf of performance on just such an instrument. Graf piano Graf piano was made in Vienna. It’s light as well as speedy keyboard action that permitted a rapid executive of noted while producing clear, sharp tones. Most of the late 18th as well as 19th century Viennese pianos Beethoven played were rather delicate instruments.However, due to his standard, the instruments were rather flimsy. His finest piano didn’t have advantage of metal bracing, necessary feature of today’s instruments. It is said that Beethoven have played the piano in a manner never before heard or conceived; His nearly-orchestral conception as well as music demanded a new nobility as well as breadth of utterance which referred to as into new element as well as dramatic emphasis. He often damaged the piano such as snapping the strings as well as splintered the hammers due to the manner of his playing which was forceful.   Broadwood Piano The Broadwood Piano is made in London by Broadwood & Sons (founded in 1728). It was sent as a gift to Beethoven. He was pleased to with its penetrating sound as well as it’s full, broad time, both of with surpassed that of the comparatively feeble Viennese instruments he had had to used until then. English counterpart had a more powerful sonority as well as afforded a solid, robust as well as rich resonance. Thomas Broadwood had arranged to have the name BEETHOVEN inlaid in ebony in the name board above the keys, directly under the music rack. Composer held it with high regard as well as refuses to let anyone tune it. He kept the instrument as long as he lived.Tone was characterized by a transparent bass, an an estimated chime-like treble, as well as a greater sound volume, as well as it afforded Beethoven some wider, more extended musical possibilities because of the fact that of its keyboard range. Many late sonatas work were composed (including Hammerklavier Sonata of 1818, his 29th work in that form) while Beethoven had the piano. Beethoven had a divided pedal: the bass as well as the treble registers could thus be pedaled separately, giving greater clarity as well as brilliance to the music played on it. He was quite deaf when he had the piano. After Beethoven’s death, music publisher, Spina, passed on the instrument to Franz Liszt as well as kept it in Weimar where it remained until his death in 1886. It is now kept at the Hungarian National Museum in Budapest where it remains until today.  Conclusion Due to his fierce nature as well as unpredictable mood-swing, Beethoven would require to find a piano which was durable because of the fact that of his forceful playing which would affect his playing. His talent was so great that he needs to experiment with musical ideas into the piano as well as this require a good tone as well as bigger range piano.  “Beethoven research is a field that has been plowed so often, each furrow having been turned so numerous times, that expecting to manufacture a major ‘discovery’ about him would be comparable to finding an ancient Greek vase lying loose somewhere n the Parthenon” by George Marek, in his book Beethoven: Biography of a Genius.    http://pandapie.friendlinkup.com/2008/09/12/beethoven-and-his-pianos.html Fri, 12 Sep 2008 19:16:49 -0400 pandapie http://pandapie.friendlinkup.com/2008/09/12/composers-haydn.html Joseph Haydn (March 31 1732 – May 31 1809)  Country: Hungary-Vienna  As domestic music making was popular during Haydn’s time, his “keyboard music was intended on behalf of performance in the residence as well as private salon – as well as an estimated all often by women, on behalf of whom the keyboard had become a centerpiece of their education as well as socialization. He also wrote them as teaching materials on behalf of his students.  Keyboard Sonatas Haydn’s keyboard sonatas can be categorized into 2 groups: before 1770s as well as at the end of 1780s. The first group was written on behalf of the harpsichord while the later was on behalf of the piano.    - Before 1780s Before 1765, Haydn’s keyboard works were inspired by Georg Christoph Wagenseil, the Hofklaviermeister of Hamburg. Sonatas Hob. XVI: 2, 6, 13, 14 as well as Piano Trios Hob. XV: 34 as well as 41 are part of this collection.   Due to the influences of Strum und Drung, there were significant revolutionary changes in Haydn’s sonatas, particularly Hob. XVI: 18-20 as well as 44-46 which were written around 1766. There were also traces of Bachian style in his sonatas. This is highly attributed to Haydn’s discovery of Bach’s Essay on the True Art of Playing Keyboard Instruments. The Bachian elements include polished as well as standardized ornaments, varied reprise, as well as elaborate rhythms.   There were another set of sonatas, Hob. XVI: 21-26, which were dedicated to Prince Nicolaus. This collection features the recollections of Viennese keyboard divertimento, toccata-like passages as well as dramatic elements from the operas.  -After 1780s The first appearance of his first piano sonatas, Op. 30 (Hob. XVI: 35-39, 20), was in 1780 when it was published. This meant that Sonata Hob. XVI: 20 are written on behalf of both harpsichord as well as the piano. It is the first dedication to a female dedicatee, Katharina as well as Marianna von Auenbrugger. They are salon pianist whom Haydn admired on behalf of their keyboard skills. “This collection exemplifies the string on behalf of balance – between delight as well as edification, tradition as well as innovation, commercial expediency as well as artistic value, the capacities of amateur as well as the discrimination of the connoisseur – which would inspire Haydn’s keyboard collections on behalf of the next fifteen years.”[1]  Haydn also wrote three short sonatas (Hob. XVI: 40-42) as well as they were dedicated to Princess Marie Hermenegild Esterhazy. This is also the first set of works that were printed out of Vienna, in Speyer by Bossler. This collection of sonatas is in 2 movements which contains variations as well as ternary (ABA) form. Dynamics as well as articulations were also added to showcase the ability of the piano.  Before 1788, Haydn has at all times been working with a harpsichord till he purchased a piano from Schanz in October of the same year. Haydn’s personal experiences with the piano itself led him to write Sonatas that demonstrates its unique tone colour as well as capabilities of dynamic as well as textural contrasts. Sonata Hob. XVI: 49 was written on behalf of this purpose as he autographed on the manuscript ‘per il Forte-piano’. This sonata is also deemed as the “model of the Classical style”[2] Since the time he owned a fortepiano, he explored the abilities of the piano so much to the point that he totally abandoned the harpsichord as well as was “no longer accustomed to it”[3] as addressed to Maria Anna von Genzinger, the dedicatee of the Hob. XVI: 49, in a letter addressed to her dated 1790. Hence, we can conclude that by 1790, Haydn has completely transited from the harpsichord to the piano.  Keyboard Trios We can also see Haydn’s transition in his keyboard trios. He began to pick up composing keyboard trios in 1784 due to public demand. Accompanied keyboard music also grew popular in Vienna by 1785. “The string parts were often markedly simpler than the brilliant keyboard part…and the cello ordinarily doubled the keyboard bass line.”[4] In order to accommodate such brilliance that ought to be displayed at the keyboard, Haydn soon found the limitation of the harpsichord as well as turned to the piano on behalf of its variety of capabilities. The public’s demand as well as favour towards the accompanied keyboard music also made way on behalf of the popularity of the piano. [1] Michelle Fillion. “They Keyboard Sonatas as well as Trios” from The Cambridge Companion to Haydn. UK:Cambridge University Press, 2005. Pg 129. [2] Michelle Fillion. “They Keyboard Sonatas as well as Trios” from The Cambridge Companion to Haydn. UK:Cambridge University Press, 2005. Pg 133. [3] H.C. Robbins Landon (Ed.) The Collected Correspondence as well as London Noteooks of Joseph Haydn. London: Barrie as well as Rockliff, 1959. Pg. 106. [4] Michelle Fillion. “They Keyboard Sonatas as well as Trios” from The Cambridge Companion to Haydn. UK:Cambridge University Press, 2005. Pg 130. http://pandapie.friendlinkup.com/2008/09/12/composers-haydn.html Fri, 12 Sep 2008 19:41:34 -0400 pandapie http://pandapie.friendlinkup.com/2008/09/12/composers-cpe-bach.html   C.P.E. Bach (1714-178 C.P.E. Bach was born in Weimar, Germany on March 8, 1714 as the second surviving son of Johann Sebastian Bach as well as his first wife Maria Barbara. C.P.E Bach was also the principal composer of the empfindsamer Stil. Empfindsammer Stil means ‘highly sensitive style’ which is highly expressive as utilize of the element of surprise with abrupt shifts of harmony, strange modulations, unusual turns of melody, unexpected pauses, changes of texture, as well as sudden sfz accents. C.P.E. Bach was the court harpsichordist between “1740—1768” in Berlin. He wrote keyboard works, concertos, symphonies, as well as numerous choral works. There are about 170 sonatas on behalf of clavichord/harpsichord/fortepiano, as well as with various other pieces on behalf of these instruments, an estimated reaching up to more then three hundred works. C.P.E Bach’s last keyboard works mainly focus on three genres important to the empfindsamer Stil—sonata, rondo as well as fantasia. C.P.E Bach’s keyboard music has rapid modification in mood, broken figures, interrupted continuity, elaborate ornamentation, pregnant pauses, as well as uncertain, often dissonant harmony. His teaching in Berlin inspired the writing of his treatise: Versuch über die wahre Art das Clavier zu spielen (Vol. I: H.868, Vol. II: H.870) (Essay on the True Art of Playing Keyboard Instruments), the an estimated all important Eighteenth Century German language work on the subject. He died in Hamburg, 1788.  C.P.E. Bach was to be an appeal on behalf of seriousness as well as commitment on the level of writing appropriate on behalf of keyboard as well as above all on that of expression, in a mythology of ‘northern’ values that was to exist on behalf of a long time. __ ‘The Age of Mozart as well as Beethoven’ by Giorgio Pestelli. C.P.E. Bach as well as the German harpsichord http://pandapie.friendlinkup.com/2008/09/12/composers-cpe-bach.html Fri, 12 Sep 2008 23:59:09 -0400 pandapie http://pandapie.friendlinkup.com/2008/09/11/composers-js-bach.html   J.S. Bach (1685-1750)  Country:Germany  One of the essential elements of Bach’s art as a keyboard composer is the attention he gave, out of respect, not only the differences between organ as well as harpsichord but also those within the family of string keyboard instruments, of which he used at least four types: harpsichord, clavichord, lute-harpsichord as well as fortepiano. He is specific about the predominant kinds of harpsichord in the Clavier-Übung(the first part is on behalf of one-manual harpsichord, the second as well as fourth on behalf of a two-manual instrument). One of the earliest manuscript sources refers to the suitability of the E minor suite bwv996 on behalf of the lute-harpsichord (‘aufs Lauten Werk’). Bach took an active interest in J.G. Silbermann’s experiments in developing the fortepiano during the 1730s as well as 40s. There is reliable testimony that he improvised on several new Silbermann fortepianos of different types in the presence of Frederick the Great in Potsdam in 1747, which makes it possible to regard the three-part ricercar of the Musical Offeringas conceived primarily on behalf of this new kind of keyboard instrument.Bach’s harpsichord works were available in Italy, France, Austria as well as England by 1750, as well as in view of this it is not surprising that the young Beethoven was schooled in the ‘48’. The growing recognition of the significance of this part of his output was reflected in the first complete edition of the works on behalf of harpsichord (begun in Leipzig in 1800 by Hoffmeister & Kühnel as well as continued by C.F. Peters) in which Forkel, among others, was involved. Concerto on behalf of two Harpsichords Bach was the first to write on behalf of harpsichord concertos with orchestral accompaniment. He was also the first to compose concertos on behalf of two, three as well as even four harsichords. Some were originally written as solo or double concertos on behalf of violin, as well as onlylater were they arranged to suit the keyboard. Both concertos on behalf of two harpsichords in C minor as well as C majordate from middle of Bach’s timein Liepzig. The first wasoriginally on behalf of violin as well as oboe in D minor. Though instrumentation has been changed, the original violin as well as onoe parts can be picked out from the right-hand staves of the two harpsichord parts. The violin as well as oboe version is more interesting because of the fact that both solo instruments offer a contrast in tone which is not possible in keyboard arrangement. Nothing is suggested that the C major concerto is an arrangement; it must be intended on behalf of harpsichords from the first. Bach’s keyboard style prevails throughout.  The broadly expanding solo episodes in the fugue show him developing his music with two precisely similar instruments in mind. A third concerto, also on behalf of two harpsichord is hardly ever played. It has an exact transcription of the well-known double violin concerto in D minor. The arrangement can never attain the romantic charm of the original. http://pandapie.friendlinkup.com/2008/09/11/composers-js-bach.html Thu, 11 Sep 2008 21:12:59 -0400 pandapie http://pandapie.friendlinkup.com/2008/09/08/roles-of-keyboard-in-chamber-music.html The Keyboard in Chamber Works during the Baroque as well as Classical period Keyboard music was employed in 3 distinct roles; as leading instrument, in equal partnership with another soloist, or acting as continuo to one or more principal players. By mid 18th century, harpsichord was declining in favor of the fortepiano, as well as this more powerful instrument formed the kernel of a whole series of genres.  In piano trios, it took the lion’s share of the musical material since strings were regarded as merely an accompanist. Piano quartets as well as quintets also appeared. Haydn wrote his Piano Trios, Hob XV: 11-13 with a fortepiano in mind. Many composers, including Haydn, wrote on behalf of a generic group of keyboard instruments (organ, harpsichord, clavichord, as well as the new forte-piano) in the 18th century, to attract as numerous amateur consumers as possible. Haydn’s piano trio Hob XV No. 18 from 1794 belongs to the first set which specifies only the piano (and no other keyboard option).    The Keyboard in Orchestral Works during the Baroque as well as Classical period  The continuo remained important throughout the first half of the 18th century as well as even in the 19th century a keyboard was often found holding the harmony in orchestral music together. For example, in Mozart’s piano concertos, the composer expected the pianist to play a continuo during the tutti sections as well as the soloist parts. It seems that some of Mozart’s earlier works, such as the concertos K175, K238, K242 as well as K246 as well as some of the variations, were composed on behalf of harpsichord whereas other works were written with the piano in mind. Bach developed the keyboard concerto in three distinct steps. First, in 1721, during his tenure as Court Capellmeister at Cöthen, he composed Brandenburg Concerto No.5, the first known keyboard concerto. By writing a daring solo harpsichord part, complete with extravagant first-movement cadenza, as well as by eliminating the continuo bass in the slow movement, Bach established the standard on behalf of the modern keyboard concerto in one bold stroke. Then, in 1726, while composing church music in Leipzig as Kantor of the St. Thomas School, he reworked a number of Cöthen concerto movements as cantata sinfonias with solo organ, thus producing the first organ concertos a full decade before Handel explored the genre. http://pandapie.friendlinkup.com/2008/09/08/roles-of-keyboard-in-chamber-music.html Mon, 08 Sep 2008 20:10:58 -0400 pandapie http://pandapie.friendlinkup.com/2008/09/15/roles-of-keyboard-in-solo-music-baroque-classical.html BAROQUE  1. Intabulations: It is also known as intavolaturas, are transcriptions or arrangements of polyphonic ensemble pieces on behalf of a keyboard instrument. The capacity on behalf of rendering polyphony on an instrument can long be perceived as a principal advantage of keyboard instruments. There are present in the earliest sources of keyboard music: Buxheim manuscript form the 15th century. In 16th century it gave rise to other important genres of keyboard music. It can be found in the 14th century, like it appeared on the Faenza manuscripts (written ca.1400 as well as it contains a 14th century repertory) is the largest: an estimated half of it consists of intabulations as well as some of music by important composers of the time (Francesco Landini as well as Guillaume de Machaut P). It continue to dominate the 15th century as well especially in the Buxheim manuscript ( ca.1470) The contents of which again comprise primarily intabulations of works by leading composers of the time like John Dunstable. However, it remains dominant to around 1600 as well as it dropped out of utilize at the end of that.   2 . Toccata: This term refers to music that consists primarily of elements of figuration, which involves mostly scale passages as well as arpeggios, often with full chords as well as sudden as well as unexpected changes in harmony, tempo, as well as dynamics. The style seems based on improvisation, emphasizing figurative elements that are well adapted to the keyboard music; referred to as idiomatic, this way of writing exploits a particular instrument’s individual qualities.   Examples of it can be found in the 16th century as evidenced by the intonazioni of Andrea Gabrieli (ca.1510-1586) as well as from England, by John Bull. Like the Prelude from Fitzwilliam Virginal Book – Excerpt. Also, the toccata continued to be as a predominant form of Italian keyboard music. Like in the first half of the 18th century we can find toccatas present in the Scarlatti’s music. In addition, the toccata style also appears in French preludes of the 17th century. Most of these carry on the old tradition without bringing in the elements added by the Italian composers of the latter part of the 16th century. In Louis Couperin on behalf of example, the prelude remained in a small form in a quasi-improvisational manner exhibiting great freedom of rhythm. But Couperin has all notes the same value, so that meter as well as rhythm are at the discretion of the player.   3. Dance as well as Suite: The largest part of the repertory of early keyboard music is related to dance. But dance is not again emphasized in sources of keyboard music until the 16th century, where we find it particularly in German tabulates. From England, we find dances in the extensive repertory of virginal music, allemandes, correntes, jigs as well as branles. Other dances of 16th century include hornpipe as well as sarabande. In 17th century dance as well as dance-related forms, which in some cases are intabulations of lute pieces, dominate the repertory of French keyboard music. The 3 an estimated all important composers are Louis Couperin, Chambonnieres as well as d’Anglebert.  In the 15th century the practise was to have the slow as well as dignified bass danse followed by a quick dance in triple time as well as this custom of linking dances in pairs continued through the 16th century. Most prominent dances are: Allemande: moderate duple time Courante: moderate triple time Sarabande: slow triple time Gigue: fast compound time usually 6/8 The an estimated all important dances are the English suites, French suites as well as Partitas of Bach’s music.  4. Dance suite: This form was used as a Harpsichord Suite or as an Orchestral Suite.  It consisted of four standard dances: allemande, courante, sarabande, as well as gigue. Various optional dances are sometimes added as well as an overture (prelude, sinfonia).   CLASSICAL  1. Sonata :  The definition of the sonata should be refined on behalf of each historical period. During the Classical era, it refers to an instrumental composition on behalf of pianoforte or on behalf of other solo instrument with pianoforte accompaniment which was intended on behalf of amateur music making. A sonata can range from 2 to 4 movements, each varying in key, mood, as well as tempo. Emanuel Bach composed sonatas in a three-movement format, fast-slow-fast, that was to become standard on behalf of the Classical sonata. However, Beethoven introduced the minuet (later scherzo), as third movement. The last movement of a 3- or 4-movement sonata is often in sonata or rondo form.  http://pandapie.friendlinkup.com/2008/09/15/roles-of-keyboard-in-solo-music-baroque-classical.html Mon, 15 Sep 2008 22:32:09 -0400 pandapie http://pandapie.friendlinkup.com/2008/09/15/the-piano.html Piano is a hybrid invention of the clavichord as well as harpsichord. It inherited the following features from the formal: independent soundboard, metal strings, hammering the strings to produce sound as well as the damper. From the harpsichord, it has the wing-formed case (as to grand pianos), three strings to one note, three pedals as well as the shifting keyboard.  Inventors Many inventors had tried incorporating the hammer action into the harpsichord but none at all succeeded; the first being Marius of Paris in 1716. Subsequently, there were people such as Christofori in 1701, Marius in 1716 as well as Schroter in 1717 who came up with a totally different mechanism from that of a harpsichord. However, the an estimated all perfect invention of the pianoforte should be credited to Bartolomeo Christofori in 1709. In Christofori’s pianoforte, he invented the escapement device, a mechanism that the performer could “through his touch produce a delicate pianissimo as well as also a strong fortissimo”[1].  Christofori’s Piano  Development Due the Industrial Revolution in the 1790s to 1890s, tremendous changes were made to the pianoforte due to increased technological resources. High-quality steel on behalf of strings as well as precision casting on behalf of production of iron frames are now available. Under Broadwood hands, the piano grew in size as well as are more robustly constructed. He extended the keyboard range of the piano from 5 octaves to 5 octaves as well as a 5th in the 1790; 6 octaves in 1810 as well as 7 octaves in 1820.   In 1820, the centre of innovation had shifted to Erard firm of Paris which built pianos used by Chopin as well as Liszt. In 1821, Sebastian Erard invented the double escapement which permitted a note to be repeated even if the key had not yet risen to its maximum vertical position, a great benefit on behalf of rapid playing especially thrills. As revised by Herz in 18540s, the double escapement action ultimately became a standard action on behalf of all grand pianos on behalf of all manufacturers.   Erad piano The other technical innovation to rock the era is the iron frame, also referred to as the eplate. It sits on top of the soundboard, as well as serves as the primary bulwark against the fork of string tension. The iron frame was the ultimate solution to the problem of structural integrity as stings were made thicker, tenser as well as more numerous. The iron frame was invented in 1825 in Boston by Alpheus Babcock, culminating earlier trend to utilize even more iron parts to reinforce the piano. The first iron frame in grand pianos (1840) was the work of the Chickering Firm, at which Babcock was employed.   Iron Frame In 1826, Jean Henri Pape introduced hammers covered by compressed felt, which could stand up to harder, softer strings of Broadwood piano. Additionally, Pape was also the first to introduce over-stringing or cross-stringing: the technique of overlapping two vertically slanted bridges instead of one, allowing longer strings to fit within the piano. Henry Steinway was the first to apply this to grand piano in 1859.  It was also during the same time that the piano received its third pedal (the sostenuto pedal) invented by Jean Louis Boisselot in 1844. The pedal was further improved by Steinway in 1874.  Duplex scaling, invented by Theodore Steinway in 1872, permitting parts of the string near the ends to vibrate freely, adding resonance as well as richness of sound.  Cross-stringing  Upright Piano The first piano invented exists as a ‘grand piano’. The first upright piano was only invented around 1780, 70 years at the end of the grand piano, by Johann Schmidt of Salzburg as well as revised by John Isaac Hawkins of Philadelphia. However, their inventions as well as improvements failed as an instrument. The proper upright piano we have today originated from William Southwell of London as well as he named it the ‘Cabinet’ piano. It was built as well as introduced between 1806-7. It has strings arranged vertically on a continuous frame with bridges extended nearly to the floor.   [1] Alfred Dolge. Piano as well as their makers. New York: Dover Publications. 1972. Pg 47. http://pandapie.friendlinkup.com/2008/09/15/the-piano.html Mon, 15 Sep 2008 21:28:01 -0400 pandapie http://pandapie.friendlinkup.com/2008/09/17/the-harpsichord-necessesity-to-change.html Late in the eighteenth century the piano began its rise, partially because of the fact that of the differences in mechanics. Harpsichords manufacture sound with jacks that pluck strings. Pianos utilize hammers that strike strings. Pianos are more robust as well as powerful as well as have a greater range of musical possibilities. Rise of the instrumental genre led to greater innovations of the keyboard due to greater ranges of dynamics contrast. Varying the touch in harpsichord playing does not alter the quality or volume of tone; to provide dynamic variety, octave couplers as well as various stops that modification the tone were introduced. Contrast in volume as well as in tone color is made easier by the addition of a second keyboard, or manual, found on German harpsichords from the late 16th century as well as on Italian ones from c.1665. The instrument provided the basic support of virtually all of the various combinations of instruments as chamber music as well as orchestral forms developed. In the 19th century, the harpsichord, which required frequent tuning as well as replacement of quills, was superseded in general utilize by the piano. Since the mid-20th century, however, the older instrument has had a revival in popularity. Hence, the harpsichord ‘gave the player no possible opportunity to exercise any artistry’.[1]  Limitations on the Harpsichord From the beginning of the sixteenth onwards the harpsichord performed important roles in both domestic as well as professional musical life. However, by early eighteenth century new musical needs were arising. The composers were making increased utilize of lyrical melodies demanding dynamic inflection, as well as also a public performances to a bigger audiences referred to as on behalf of instruments with greater volume. This is to accomplish the increase of timbre colour to the music. The harpsichord has the great volume required on behalf of public performance or in instrumental ensemble. Still, it was limited in its ability to interpret a melodic line by its lack of facility on behalf of gradual dynamic variations within the scale. What was sought was a keyboard instrument, producing substantial sound level while allowing players direct control of volume from one note to the next.      [1] Alfred Dolge. Piano as well as their makers. New York: Dover Publications. 1972. Pg 38. http://pandapie.friendlinkup.com/2008/09/17/the-harpsichord-necessesity-to-change.html Wed, 17 Sep 2008 19:24:01 -0400 pandapie http://pandapie.friendlinkup.com/2008/09/17/the-harpsichord.html Harpsichord begins very much like an enlarged spinet: with larger case, greater soundboard, more as well as longer strings.      Spinet  V.S Harpsichord It produces a harsh, raw, nasal as well as disturbing tone which makes it unsuitable on behalf of solo performances. In order to improve or solve this situation, numerous experiments were conducted such as adding pedals, stops as well as other devices to mimic other instruments.   From all these experiments, 4 devices were formulated to solve this problem:-         forte stop: lift dampers-         soft stop: press the dampers on to the strings to stop vibration-         buff stop: to insert soft cloth or leather between the jacks as well as strings-         shifting stop: shifts entire keyboard Mechanism   Caption: Schematic view of a 2×8” single manual harpsichord. 1) keylever, 2) name batten, 3) name board 4) tuning pins, 5) nut, 6) jack rail, 7) upper registers, 8 ) string, 9) bridge, 10) hitchpin, 11) liner, 12) bentside/tail, 13) boudin, 14) soundboard, 15) gap, 16) upper belly rail, 17) jack, 1 lower belly rail, 19) bottom, 20) rack, 21) guide pin, 22) lower registers, 23) wrestplank, 24) balance pin, 25) keyboard frame.  Development Harpsichord makers gradually increased the size of the harpsichord as long as 16 feet. Thin wires were used as the casings were not in a position to tolerate heaving wires. The quill plectra could not vibrate them as well. They soon realized that long as well as thin wires produce unmusical tone as well as hence reduce the size between 8 to 10 feet. They also increased the number of strings to each note to enhance the timbre of the harpsichord. Venice was the center of its manufacture. At that time its prevailing shape was winglike, similar to that of a grand piano. The square harpsichord, often referred to as spinet, became more common in the late 16th cent., when harpsichord making in the northern countries surpassed that of Italy. Perhaps the greatest craftsmen were the Ruckers family of Antwerp (late 16th–17th cent). By the 1750s, the centre of harpsichord manufacturing has shifted to Paris. The more well-known makers are the ancestors of Elizabeth Claude Jacquet, Jean as well as Claude Jacquet. They took on the business from the Blanchet family who began making harpsichords since 1689. Hence, the harpsichord was once again modified under the hands of the Parisians. The instrument was standardized to be a two-manual instrument. The lower keyboard contains 2 sets of strings: a set of 8’ as well as another of 4’. The upper keyboard contains a separate set of 8’ strings. Interestingly, both keyboards, with the utilize of a coupler, can be made to play together, thus extending the range of the harpsichord. They also used three strings to each note.      http://pandapie.friendlinkup.com/2008/09/17/the-harpsichord.html Wed, 17 Sep 2008 20:30:42 -0400 pandapie