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Like the modern piano, the fortepiano can vary the sound volume of each note, depending on the player's touch. The tone of the fortepiano is quite different from that of the modern piano, however, being softer, with less sustain. Sforzando accents tend to stand out more than on the modern piano, because they differ from softer notes in timbre ...
The fortepiano dynamic as it appears in modern music. 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). [1]
Starting in Beethoven's later career, the fortepiano evolved into an instrument more like the modern piano. Modern pianos were in wide use by the late 19th century. They featured an octave range larger than the earlier fortepiano instrument, adding around 30 more keys to the instrument, which extended the deep bass range and the high treble range.
Malcolm Bilson, who began after 'the Father of the Fortepiano', Phil[ip] Belt, dropped around one of his first reproduction instruments to try, still provides great impetus to modern makers. His Fortepiano Summer Schools in the 1980s were an inspiration, and many of the musicians who attended those schools, along with his Doctoral graduates ...
Although the piano and its pedal configuration has been in its current form since the late 19th century, there was a development in 1987. The Fazioli piano company in Sacile, Italy, designed the longest grand piano produced up to now (10 feet 2 inches [3.10 m]). This piano includes four pedals: damper; sostenuto; una corda; and half-blow. [8]
The modern form of the piano, which emerged in the late 19th century, is a very different instrument from the pianos for which earlier classical piano literature was originally composed. The modern piano has a heavy metal frame, thick strings made of top-grade steel, and a sturdy action with a substantial touch weight.
In the mid 1970s, he built a fortepiano replica of his own, with the help of a piano technician friend, Lee Morton, who had served as Belt's apprentice. At his debut recital at Carnegie Recital Hall in 1977, Lubin performed Mozart works on his fortepiano, along with a large-scale Chopin work on the modern grand.
Lubin eventually built his own fortepiano replica (with the help of a piano technician friend, Lee Morton, who had served as Belt's apprentice), and pursued a successful solo career with it. Thomas Kunkel , writing a brief biography of Belt, also provided an intuitive assessment of the aesthetic contributions of the revival fortepiano: