Tuesday, October 20, 2015

Piano Music Radio

Sad Piano Music Radio

Abandoned Toys - Within a lilac clutch


Library Tapes - Fragment II


Beautiful Hour long piano mix

Beautiful Hour long piano mix

Philip Glass - piano etude

Philip Glass - piano etude

Moon ate the dark - messy hearts


William Basinski - Nocturnes


Greg Haines - Caden Cotard


Sophie Hutchings - Seventeen


A look back on the piano

Early Pianoforte

Cristofori's brand new instrument remained relatively not known until a good Italian writer, Scipione Maffei, wrote a keen article over it in 1711, including any diagram on the mechanism, which was translated directly into German and widely allocated. Most on the next creation of keyboard builders started out their work on account of reading this. One of those builders ended up being Gottfried Silbermann, better often known as an wood builder. Silbermann's pianos had been virtually strong copies of Cristofori's, using one critical addition: Silbermann invented the forerunner on the modern sustain pedal, which lifts all of the dampers in the strings in unison.

Silbermann confirmed Johann Sebastian Bach among his first instruments within the 1730s, but Bach would not like it then, claiming the higher notes were way too soft to allow a complete dynamic selection. Although this earned your ex some animosity from Silbermann, the particular criticism ended up being apparently heeded. Bach did approve of your later guitar he observed in 1747, and also served just as one agent within selling Silbermann's pianos.

Piano-making flourished during the late eighteenth century within the Viennese school, which included Johann Andreas Stein (who worked well in Augsburg, Germany) along with the Viennese producers Nannette Streicher (daughter of Stein) and Anton Wally. Viennese-style pianos were constructed with wood structures, two strings per take note, and had leather-covered hammers. Many of these Viennese pianos had the other coloring of modern-day pianos; the pure keys had been black along with the accidental keys white.  It turned out for such instruments that will Wolfgang Amadeus Mozart made up his concertos and sonatas, and replicas of them are designed today for easy use in authentic-instrument performance of his / her music. The actual pianos of Mozart's morning had any softer, much more ethereal tone than present day pianos or maybe English pianos, using less supporting power. The term fortepiano has become used to distinguish these first instruments by later pianos.

Comparison of keyboard sound

The present day piano


Inside the period long-term from with regards to 1790 to 1860, the Mozart-era keyboard underwent huge changes that resulted in the modern sort of the guitar. This revolution is at response to your preference simply by composers and pianists for just a more strong, sustained keyboard sound, and authorized by the particular ongoing Business Revolution using resources like high-quality keyboard wire intended for strings, and precision casting for the production of iron structures. Over time period, the tonal selection of the keyboard was furthermore increased in the five octaves of Mozart's day towards the 7-plus range entirely on modern pianos.


Early technical progress to be paid much towards the firm of Broadwood. John Broadwood joined up with with a different Scot, Robert Stodart, and also a Dutchman, Americus Backers, to style a piano within the harpsichord case—the origin on the "grand". Many people achieved this in with regards to 1777. They swiftly gained any reputation for the splendour and powerful tone of these instruments, with Broadwood building ones that were progressively more substantial, louder, and more robustly constructed. They directed pianos to both Ernest Haydn and Ludwig vehicle Beethoven, and were the primary firm to create pianos with an array of more as compared to five octaves: five octaves and also a fifth (interval) during the 1790s, six octaves simply by 1810 (Beethoven used the additional notes within his later on works), and seven octaves simply by 1820. The actual Viennese producers similarly put into practice these styles; however each schools employed different keyboard actions: Broadwoods were better made, Viennese musical instruments were much more sensitive.


By the 1820s, the biggest market of innovation had shifted to Paris, the location where the Pleyel firm manufactured pianos employed by Frédéric Chopin along with the Érard firm manufactured those employed by Franz Liszt. Inside 1821, Sébastien Érard invented the two times escapement motion, which integrated a replication lever (also referred to as the balancier) that will permitted repeating a note even when the key hadn't yet grown to their maximum top to bottom position. This particular facilitated fast playing of repeated notes, a audio device milked by Liszt. When the invention started to be public, since revised simply by Henri Herz, the particular double escapement motion gradually started to be standard within grand pianos, and is particularly still integrated into most grand pianos presently produced.

Other improvements on the mechanism included the usage of felt retracted coverings instead of layered leather-based or 100 % cotton. Felt, which was first launched by Jean-Henri Pape within 1826, was a consistent material, permitting broader dynamic ranges as retracted weights and string tension increased. The actual sostenuto pedal, invented within 1844 simply by Jean-Louis Boisselot and copied from the Steinway firm in 1874, allowed any wider selection of effects.

One creativity that aided create the particular sound on the modern keyboard was the usage of a strong iron figure. Also referred to as the "plate", the particular iron figure sits on top of the soundboard, and serves since the primary bulwark from the force of string tension that could exceed 20 tons in the modern great. The single piece toss iron figure was trademarked in 1825 within Boston simply by Alpheus Babcock, mixing the material hitch pin plate (1821, claimed simply by Broadwood regarding Samuel Hervé) and resisting bars (Thom and Allen, 1820, but also claimed simply by Broadwood and Érard). Babcock later on worked for the Chickering & Mackays firm who patented the primary full iron frame intended for grand pianos within 1843. Composite solid metal structures were favored by several European makers before American technique was entirely adopted from the early the twentieth century.

The enhanced structural integrity on the iron figure allowed the usage of thicker, tenser, and more numerous strings. In 1834, the Webster & Horsfal firm of Birmingham introduced a variety of piano wire constructed from cast aluminum; according to Dolge it was "so superior to the iron wire the English firm soon had a monopoly. " A much better steel wire was quickly created within 1840 from the Viennese firm of Martin Callier, and a period of creativity and extreme competition ensued, with competing brands of piano wire being screened against one another at worldwide competitions, leading ultimately towards the modern sort of piano wire.

Other critical advances included changes to how a piano is strung, including the use of your "choir" of three strings in lieu of two for all those but the best notes, along with the implementation of over-strung degree, in that this strings are placed in two separate airplanes, each with its own fill height. (This can be called cross-stringing. Whereas previously instruments' bass sounds strings were merely a continuation of your single line plane, over-stringing positioned the bass sounds bridge behind and to the treble side on the tenor fill area. This particular crossed the particular strings, with all the bass strings within the higher jet. ) This particular permitted any much narrower cabinet for the "nose" end on the piano, and optimized the particular transition by unwound tenor strings towards the iron or maybe copper-wrapped bass sounds strings. Over-stringing ended up being invented simply by Pape during the 1820s, and initial patented for easy use in grand pianos in the united states by Henry Steinway, Junior. in 1859.
Duplex scaling of 1883 Steinway Style 'A'.

Some keyboard makers formulated schemes to reinforce the tone of each note. Julius Blüthner formulated Aliquot stringing within 1893 together with Pascal Taskin, and Collard & Collard. Each and every used much more distinctly buzzing, undamped vibrations to modify tone, other than the Blüthner Aliquot stringing, which uses an additional fourth string within the upper two treble sections. While the particular hitchpins of those separately halted Aliquot strings are brought up slightly above the quality of the usual tri-choir strings, they are not struck from the hammers but rather are damped simply by attachments on the usual dampers. Needing to copy most of these effects, Theodore Steinway invented duplex climbing, which employed short plans of non-speaking wire bridged from the aliquot throughout much of upper the range of the particular piano, always within locations that will caused these phones vibrate within conformity with their respective overtones—typically within doubled octaves and twelfths.

The physical action structure on the upright keyboard was invented in London, England within 1826 simply by Robert Wornum, and up-right models became the most popular model, furthermore amplifying the particular sound.