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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]
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.
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 ...
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:
Olga Pashchenko (Russian: Ольга Пащенко; born 1986) is a Russian harpsichordist, fortepianist, organist and pianist who has performed in concert halls in Moscow and other cities of Russia, Belarus, Italy, United States, Austria, Belgium, France, Germany and the Netherlands and has won several major international competitions.
Paul McNulty (born 1953) is a builder of historical pianos, described by the New Grove as "famous for the high standard of [his] instruments." Within the community of builders, McNulty is noted for his efforts to extend the production of historically informed instruments later into history: while he has built many fortepianos in 18th-century style, he has also progressively sought to span the ...
Silbermann invented a device by which the player could lift all of the dampers off the strings, permitting them to vibrate freely, either when struck or sympathetically when other notes were played. This is the function in later pianos of the damper pedal. Silbermann's device was different from the modern damper pedal in two respects.