What is a fortepiano?

As we have already mentioned, the fortepiano is essentially a psalter – so is the harpsichord – to which a mechanized keyboard has been applied. The plucked psaltery was played vertically held in the lap of the performer, so it was natural to also create a keyboard instrument that developed vertically:

How many octaves are in a fortepiano?

5 ⅓ octaves from FF to a”’, bichord from FF – a’, trichord from b flat’ on up, strung in iron.; ebony naturals with bone topped sharps, and two knee levers (moderator and dampers). This Fortepiano is the 1835 Graf in Ann Arbor, Michigan on which I base my 6 ½ Octave pianos. (shown without the keyboard)

Where did Giuseppe Clementi make his fortepiano?

In 1800 Clementi opened a fortepiano factory in London, allying himself with Collard, in order to promote his fortepiano ideal with English or push-button mechanics, which owes much to Cristofori’s mechanics. Clementi will spend many years of his life on important trips to Europe.

The expression fortepiano (sometimes called forte piano) is a sudden dynamic change used in a musical score, usually with the abbreviation fp, to designate a section of music in which the music should be played loudly ( forte ), then immediately softly ( piano ).

Why is the Cristofori piano so famous?

Cristofori is perhaps best admired today for his ingenious piano action, which in some ways was more subtle and effective than that of many later instruments. However, other innovations were also needed to make the piano possible. Merely attaching the Cristofori action to a harpsichord would have produced a very weak tone.

What is the best book on the history of the fortepiano?

Pollens, Stewart (1995) The Early Pianoforte. Cambridge: Cambridge University Press. Ripin, Edwin M. (2001). “Fortepiano (i)”. The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.

What is the difference between the Cristofori and Viennese fortepiano?

The Viennese action was simpler than the Cristofori action, and very sensitive to the player’s touch. According to Edwin M. Ripin (see references below), the force needed to depress a key on a Viennese fortepiano was only about a fourth of what it is on a modern piano, and the descent of the key only about half as much.