HOW THE FORTEPIANO IS MADE: a replica after G. Silbermann (1749) PART 3 "Action parts, stand and.."

Dear friends and followers, here is the third part of "HOW THE FORTEPIANO IS MADE". It's a long journey that we've done with our followers to discover what's underneath the construction of a fortepiano, to make you live and unique a virtually experience. This third part is dedicated to the action parts, stringing, legs and stand, metal works. Contact us to learn more about the fortepianos and visit our official website: www.ugocasiglia.it/en
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Enjoy!

[@longhaulblue]

Thank you.

[@rozalinapiano]

It would be very important to have more recordings of J.S.Bach on this replica that demonstrate how this Pianofort enabled with dynamics the clarity of voicing his complex polyphonic texture, that would be impossible on the instruments of the previous era. Also, expression of emotional resonance became possible in the keyboard matching voice and other orchestral instruments. For example pieces with two note short phrases symbolic of sigh . (Although there are recs dated 1749 on Silbermann’s piano, they do not exclude that Bach could have had other hammer claviers, simply “undocumented”. His earlier keyboard writing (for example WTC) demonstrated his new use of keyboard that does not fit harpsichord and clavichord capacities.

Beautiful work! Thank you for sharing the video.

[@rozalinapiano]

The continued denial of Bach’s fascination with hammer clavier by Bach scholars is not only silly, but is distortive of the truth and has. Impact of false requirement to withhold emotions imprisoning his music and reducing it to oversimplified mechanical version of typewriter sound on dynamically rich pianos that Bach would have embraced, if they were available