Evolution of the piano

The fortepiano is a keyboard instrument that was born at the turn of the 18th century in Europe. It is considered the predecessor of the modern piano and became very popular during the period of musical Classicism, in the second half of the 18th century. The fortepiano is characterized by having metal strings that are struck by leather-covered hammers, unlike the harpsichord which has strings that are pinched. This mechanism allows the player to control the volume and intensity of the sound, giving the instrument a wider dynamic range. The following photo shows a fortepiano made by Bartolomeo Cristofori in 1720.

It has a lighter and more compact structure than the modern piano, with thinner strings and a simpler mechanism. The fortepiano produces a softer, less powerful sound than the modern piano, but has a faster response and greater sensitivity in volume and tone nuances.

Over the years, the fortepiano evolved and transformed into the piano we know today. In the mid-19th century, significant changes were introduced to the design and construction of the instrument, such as a larger sounding box, thicker strings, and more complex actions. This evolution was led by manufacturers such as Bartolomeo Cristofori^[1], John Broadwood^[2] and Ignaz Pleyel among others, who introduced improvements in the technology and construction of the piano, making it a much more powerful and expressive instrument.

As the fortepiano evolved into the modern piano, composers were able to explore new tones and textures as the instrument became more powerful and versatile. This opened up a world of possibilities for composers, who were able to experiment with more complex harmonies, more extreme dynamics, and other musical elements that were difficult to reproduce on earlier instruments. The evolution of the fortepiano allowed composers to expand their musical horizons and explore new forms of expression and creativity in their music. Composers sought to make the most of the possibilities that this new instrument offered, which gave rise to new ways of composing music for the piano.

Different fortepiano types

Although the fortepiano was invented in Italy by replacing the plucked mechanism of a harpsichord with a percussion mechanism, the idea initially attracted more attention elsewhere on the continent, mainly in central Europe and Great Britain. From here came two different types of fortepiano, the so-called Viennese and English, which had different characteristics.

The Viennese fortepiano, developed mostly in Austria and Germany, is known for its bright, smooth tone, as well as its ability to produce a wide dynamic range. This instrument was especially popular in classical music of the 18th and 19th centuries, and was used by composers such as C.P.E. Bach^[3], Mozart, and Haydn. The Viennese fortepiano is also characterized by its light and sensitive action, allowing the pianist to express a wide range of emotions and nuances in their performance. The following image shows a picture of a viennese fortepiano action.

On the other hand, the English fortepiano, developed mainly in London, is distinguished by its brighter and more metallic tone, as well as its heavier and more rigid action. This instrument was widely used in English classical and baroque music, and its design often included elaborate decorative elements such as marquetry inlays and detailed carvings. Unlike the Viennese fortepiano, the English fortepiano was more suitable for the performance of chamber and salon music.

One aspect in which these two instruments especially differed was their damper system. The Viennese fortepiano had very effective dampers, in the shape of a wedge, to be able to apply pressure between the unisons (different strings of the same note) and quickly turn off the sound completely. In the treble section, this wedge was replaced by a block of felt. On the other hand, the dampers in the English mechanism were mounted on small pieces of wood, and had only a light layer of leather or felt that rested on the strings. This resulted in extra resonance as the notes did not fade away immediately when the key was released. The following photographs show the dampers of a Viennese (left and right) and an English (middle) fortepiano.

Practically from their beginnings, these instruments had different mechanisms to add effects and modulate their sound. The most popular mechanisms were the so called forte pedal, which raised all the dampers of the piano to let it resonate; the sordina, which inserted a piece of felt between the hammers and the strings to give to the instrument a very soft and intimate sound; and the una corda pedal, which moves the piano mechanism in such a way that the hammers only hit one of the unisons, giving it a cleaner and finer sound.

Principal differences between fortepiano & modern piano

It could be said that the modern piano emerged from the evolution of the English piano, since the Viennese mechanism was practically discontinued at the end of the 19th century. Throughout that century, the fortepiano experienced a series of technological advances that would lead to what is known today as the modern piano. The sound box was enlarged and a cast-iron frame was added that covers the inside part of the cabinet of the piano and supports the tension of the strings. Thanks to this innovation, the tension of the strings could be increased, resulting in a sustained sound with much more volume. In addition, a system of crossed strings began to be used, seeking uniformity in the different registers of the piano.

There were also very significant changes to the mechanisms. The travel of the key was expanded along with its weight. The hammers, which until now were small pieces of wood with a light covering of leather or felt, became increasingly larger, and the proportion of wool felt they carried in them was expanded in order to achieve a more warm, round and mellow sound, full of harmonics. The following photographs show the hammers of an 1872 Viennese Streicher piano (left) and the hammers of a modern piano (right).

One of the most important advances that was made was the double escapement system, patented by Érard in 1821. With the increase of the travel of the keys, the repetition of the notes became increasingly difficult, since to reset the hammer the key had to be returned to its rest position. Early escapement actions were notoriously sluggish, they were slow to reset and prone to jamming and bouncing hammers, especially if the note was held. This made it impossible to then quickly replay that same note. Érard’s new action solved this problem by facilitating a partial reset. The mechanism uses a check to catch the hammer assembly immediately after it has struck the string and before it returns to its initial rest position. When the key is subsequently released, the jack instantly re-engages under the hammer, and the note can be replayed without having to wait for the hammer to fall all the way back to its starting point. Initially, it was believed that this “double release” mechanism, with its complex arrangement of springs and levers, was too difficult to produce and not strong. However, Érard’s detractors, especially the British piano builders of the time, were wrong. It turned out to be resistant and reliable at the same time, fulfilling its function, so much so that an updated version of this system is still used today.

In the last century, the piano has remained practically with the same mechanism design, experiencing very few changes, and none of them structural. The piano is currently one of the most popular instruments, and its use has spread throughout the world. Some of the most prestigious piano brands today are: Bösendorfer, C. Bechstein, Fazioli, and Steinway & Sons. The following photo shows a Bösendorfer 290 Imperial^[4].

Evolution of piano scores

In the 18th century, the way that composers were writing music for keyboard instruments was primarily focused on the baroque style of music, with composers such as C.P.E. Bach and D. G. Türk^[5], creating works that explored the possibilities of the newly invented fortepiano. These pieces often had a more contrapuntal texture compared to later compositions, but they laid the foundation for the development of the galant style, and then the musical classicism. This musical writing was a consequence of the instrument of the time. The notes on the fortepiano were very precise and had a very energetic attack. The instrument was made for speaking rather than singing, it was capable of all kinds of nuances and subtleties and this was reflected in the works that were composed for this instrument.

In the 19th century, piano writing expanded and became more virtuosic, with composers such as Ludwig van Beethoven, Frédéric Chopin and Franz Liszt writing works that pushed the technical skills of performers to new limits. Piano pieces from this era used the new possibilities that came along with the technological advances of the piano, with greater dynamic range and greater harmonic complexity. Concert halls became more popular, and music ceased to be almost exclusively for courts and salons. Due to this, the piano gradually gained volume, which also influenced the way of writing for the instrument.

In the 20th century, piano writing diversified further, with composers such as Claude Debussy, Sergei Rachmaninoff and Bela Bartok exploring new techniques and sonorities in their piano works. 20th century piano music often incorporated elements of Impressionism, Expressionism, and Neoclassicism, creating more diverse and experimental piano repertoire.

From the second half of the 18th century until today, the piano has been one of the most popular instruments due to its expressive possibilities and its versatility. It is one of the instruments with the most original repertoire, both in solo and chamber music settings.

In recent years, improvements have continued to be made in the design and technology of the modern piano, such as the use of stronger and more durable materials, the incorporation of digital technology and improved sound quality. All of this has helped to consolidate the piano as one of the most important and popular musical instruments in both classical and other musical genres.

Bibliography

From the clavichord to the modern piano (videos) https://www.youtube.com/watch?v=a9IaE2i-DmA https://www.youtube.com/watch?v=4uCCw_hmILA

Double Escapement Action https://www.worldpianonews.com/new-product/acoustic/sebastien-erard-double-escapement-action/

Fortepiano https://es.wikipedia.org/wiki/Fortepiano

Chris Maene (actual fortepiano & modern piano maker) https://www.chrismaene.be/home

Bartolomeo Cristofori https://en.wikipedia.org/wiki/Bartolomeo_Cristofori

John Broadwood https://en.wikipedia.org/wiki/John_Broadwood

Carl Philipp Emanuel Bach https://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bach

Daniel Gottlob Türk https://en.wikipedia.org/wiki/Daniel_Gottlob_Türk

References