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“Sometimes I can only groan, and suffer, and pour out my despair at the piano!” a quote from Frederic Chopin. Similar to Chopin, a copius amount of musicians utilized their instruments of choice in order to express their emotions or feelings. During the Baroque Period both the clavichord and the harpsichord reigned as the most popular keyboard instrument of choice. However, by the end of the Baroque Period the piano had replaced both keyboards as being the most popular and widely used (Verotta). The piano has been derived from the harpsichord and the clavichord which had evolved continuously through the combined effort of keyboard makers. Being that the both the harpsichord and the clavichord were popular keyboard instruments, instrument makers were looking for ways to improve their designs. One such instrument maker was Bartolomeo Cristofori. Cristofori was an Italian harpsichord creator that ended up inventing the piano, or the Gravicembalo col piano e …show more content…
Gottfried Silbermann, a German keyboard builder who was already famous for his accomplished work on the clavichord, took Cristofori’s design and improved it. Although Silbermann and Cristofori were both keyboard makers, Silbermann had further knowledge of mechanical systems which allowed him to advance Cristofori’s design. Silbermann was friends with J. S. Bach, who would deliver critiques on the newest mechanical tests Silbermann was working on at the time. Bach thought that the keys were too heavy to the touch, and that the high notes were too quiet (Sartorius). Piano designs up until this point resembled the harpsichord which are now called grand pianos. Later mechanical improvements fixed the sensitivity of the keys and the tonality of the higher notes. Accordingly the work on the piano continued well past Gottfried Silbermann’s time and ended up blossoming in
Johann Sebastian Bach was a composer, a musician, teacher, and organist who later became a specialist in construction of organs. Bach learnt to play the violin, the orchestra, and the organ from his father and his famous uncle and twin brother to the father, Johann Christoph at a young age. The organ was his chosen instrument. He also achieved success in the art of Fugue, choral polyphone, instrumental music and dance forms. In Eisenach he attended Old Latin Grammar School, the same school that Martin Luther had attended. He sang in the schools choir. His parents died before Bach was 10 years old. His mother died when Bach was nine years old, his father’s death followed nine months later (Sherrane, 2011). After the parents death Bach was taken in by his older brother Johann Christoph who had already established himself as an organist in Ohrdruf. Johann Christoph had a great influence in Bach’s success in music as he taught him and encouraged him to study music composition. At the same time Bach was attending the Gymnasium grammar school in Ohrdruf where he studied theology, Latin...
As a boy Johannes worked and studied with his father and learnt lessons from books with his mother, with whom he would play ?four-hands? at the piano, ?just for fun.? There were never any doubts as to his becoming a musician. From early childhood he learn everything his father could teach him, read everything he could lay hands on, practiced with undeviating enthusiasm, and filled reams of paper with exercises and variations. The soul of the child went out in music. He played scales long before he knew the notes, and great was his joy when at the age of six he discovered the possibility of making a melody visible by placing black dots on lines at different intervals, inventing a system of notation of his own before he had been made acquainted with the method which the musical world had been using for some centuries.
Batrolomeo Cristofori brings the piano into the musical arena around 1709 in Florence, Italy. One of Cristoforis previous instruments, the harpsichord, actually brought about the idea of the piano. Cristofori wanted to develop a more dynamic instrument, because the harpsichord had such a small dynamic range. His answer to that problem was the ‘gravicembali col piano e forte,’ which meant harpsichord with soft and loud. This long name was shortened to pianoforte, and then eventually forte was dropped, and now these modern instruments are known as pianos. As the keeper of instruments in Prince Ferdinand’s court in Florence, Cristofori reinvented the harpsichord into the piano. The actual date that he created the piano is unknown, but
ever changing and there was a very good uses of all the keys of the piano.
Next we come to a point in time where a great leap had to be made. Musicians had made positive steps forward in the way of pitch and time but of only one or two notes at a time. What was needed was an in instrument that gave players control of many pitches simultaneously. The mechanism ...
The Symbolism of the Piano in The Piano The piano has been inextricably linked with the roles and expectations of women in British society since its advent in the mid 1700s to the late 1800s when rising standards of living made it more accessible to middle class society. Pianos were regarded as "secure icons of social distinction" 1 and a wife was viewed similarly as a possession of "privatization, success and respectability. " 2 Pianos were instrumental in both reinforcing gender roles and as delineators of class distinction, thus perpetuating the class system.
Johann Sebastian Bach was born into a family of musicians. It was only natural for him to pick up an instrument and excel in it. His father taught him how to play the violin and harpsichord at a very young age. All of Bach’s uncles were professional musicians, one of them; Johann Christoph Bach introduced him to the organ. Bach hit a turning point in his life when both of his parents died at the age of ten years old. Bach’s older brother Johann Christoph Bach took him in and immediately expanded his knowledge in the world of music. He taught him how to play the clavichord and exposed him to great composers at the time. At the age of fourteen, Bach and his good friend George Erdmann were awarded a choral scholarship to the prestigious musical school St. Michael’s in Luneburg. From then on, Bach began to build his career in the music industry. His first two years at the school he sang in the school’s a cappella choir. Historical evidence has shown that Bach at a young age would visit Johanniskirche and would listen to the works of organ player Jasper Johannsen. This was thought to have been the inspiration to Bach’s Toccata and Fugue in D minor. Studying at the prestigious musical school has help Bach network his way around and become acquaintances’ with some of the best organ players at the time such as Georg Böhm, and Johann Adam Reincken. Through his acquaintance with Böhm and Reincken Bach had access to some of the greatest and finest instruments.
Born in 1556, Giovanni Gabrieli was an Italian composer who worked for the St. Mark’s Cathedral in Venice. During his time there, he composed works for separate choirs for both vocal and instrumental performers. One of his most famous pieces comes from his Sacrae Symphoniae completed in 1597; the Sonata Pian e Forte. Gabrieli was both a composer and organist in Renaissance and Baroque transitional period which caused elements of both periods to be demonstrated within his compositions. With instrumental music becoming more popular, it was becoming quite common during this time to have a composer who also played an instrument, especially the piano or organ. Sonata Pian e Forte gained fame from being a work that demonstrated a few characteristics and ideas about sound that had yet to be seen or often used.
Composers such as Ludwig van Beethoven and Wolfgang Amadeus Mozart embraced the sound of the pianoforte, using the instrument for a plethora of sonatas and piano concertos. An article published by the Oxford University Press contains excerpts of letters in which Mozart expresses his enthusiasm and preferences in regard to pianofortes, the title of the article even referring to the instrument as Mozart’s “beloved concert instrument” (Badura-Skoda 464-474). Late Baroque composers, such as Johann Sebastian Bach, found the pianoforte to produce too dull of a sound for their dramatic, elaborate music. This was due to the little hammers inside of the piano that struck its strings. Baroque composers preferred the crisp, sharp, and pointed sound of the harpsichord that cut through the sound of the rest of the orchestra. According to an article on the early pianoforte, Bartolomeo Cristofori knew of the flawed sound of his new instrument, and so he altered the surface of the hammers and their positioning so that the pianoforte’s sound would not become “tiresome” (Sutherland 341). Baroque composers disinterest in the pianoforte is understandable considering that the Baroque era of music was winding down as the pianoforte was becoming popular, ushering in the Classical
Music has shaped the lives of people throughout history. Even in its earliest forms, music has included use of instruments. One of the oldest musical instruments known is a variation of the flute; the original flute is thought to date back nearly 67,000 years ago. Tonight we are going to move throughout the eras with a history of instrumental music. This concert will begin with the Renaissance Era and continue through time until we have reached modern instrumental music.
Bie, Oscar. A History of the Pianoforte and Pianoforte Players. trans. by E. E. Kellett
There is a moment in The Piano when the crazed husband takes an axe and chops off his wife's finger. We do not see the awful blow, but both times I watched the film the audience gasped and a few women hurried from the theater. It is a disturbing but crucial scene, the culmination of a sado-masochistic screenplay which has been condemned by some as harmful to women and welcomed by others as an important feminist work. Critics have been more nearly unanimous in their praise for The Piano, and for writer and director Jane Campion. A New Zealander, Campion made two previous low budget films with relatively unknown actors which attracted little notice and small audiences. But their quirky originality established her reputation among film cognoscenti. The Piano, by contrast, is both an astonishing artistic achievement and a major motion picture. Featuring Holly Hunter and Harvey Keitel, it has made Campion an overnight celebrity. She is being hailed as a "natural" and "original" film maker, and no doubt she is.
A great philosopher and a writer, George Santayana once said, “Those who do not learn history are doomed to repeat it”. This phrase by Santayana has deeply touched many people’s hearts and encouraged them to look back at their past. Everyone has a shameful history that one desperately endeavours to hide and ignore, or sometimes forced to hide and ignore. However, whatever the reason might be, hiding and ignoring is definitely not the wisest solution to one’s problem, because it often initiates bigger problems. One must accept to face the past and truly learn from past mistakes in order to prevent the repeating of the same mistakes. The novel, The Piano Man’s Daughter deals this idea of learning from past mistakes, and the author Timothy Findley expands
Examining Mozart as a keyboardist would also require an exploration into his role as an organist and if his early encounter and training in this instrument influenced his decision to add a pedalboard to his piano. When discussing Mozart as a keyboardist, little attention has been devoted to how influential his training and interest was as an organist. I argue that Mozart’s keyboard style was very much influenced by the organ’s characteristics. Analyzing his compositions may reveal his continued reference to organ literature. Although the originality of Mozart’s piano is under debate since it has been altered in many ways since his death, the now missing pedalboard is well documented. This fact questions the originality of the damper-raising knee levers in Mozart’s piano. Simply, if the feet are busy playing the pedals, is it still possible to raise the damper rail with the knee? An answer may be offered by the hand stops in Mozart’s piano for operating the dampers. To support my argument, Variation IV of Mozart’s “alla Turca” Sonata K. 331 reveal three textural layers that can be conveniently played on the pedal piano using the feet for the bass and the hands for the treble. Further, a hand will be free to reactivate the hand stops and lift the damper rail, thus allowing the pianist to re-orient the listener from the preceding minor variation to the current variation in
This report will discuss the career of prominent Italian architect, Renzo Piano. Topics discussed include: design approach, influences, building typology and the materials used, as well as a biography of Renzo.