Piano history begins at the start of the 18th century, in Florence, when the Italian Bartolomeo Cristofori invents the fortepiano, ancestor of the modern piano.
The Tympanon, a Forgotten Ancestor in Piano History
Among the struck string instruments that preceded the piano, the tympanon occupies an often-neglected place. This instrument with a trapezoidal body produced its sounds by striking the strings with mallets, a mechanical principle that foreshadows that of the piano.
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Imported from the East, it briefly established itself in Europe from the 17th century, particularly in French aristocratic circles. The German maker Pantaleon Hebenstreit developed an enlarged version, the pantaleon , which captivated Louis XIV himself.
Despite this craze, the tympanon disappeared shortly after the Revolution, leaving few traces in the repertoire.
Cristofori’s Fortepiano
Cristofori’s fundamental discovery marks the true beginning of the piano history. It solved a mechanical problem inherent to the instrument: the hammers must strike the strings without remaining in contact with them once the impact is produced, so as not to dampen the sound.
Furthermore, they must return to their initial position without violently bouncing back, and do so quickly, to allow notes to be repeated at a satisfactory speed.
Compared to the clavichord and through its refinement, the fortepiano would allow for dynamic nuances and sound much louder, with a longer note sustain.
The manufacture of the fortepiano flourished at the end of the 18th century, with the work of the Viennese school. “Viennese” style pianos were made without a frame, with only a wooden brace, two strings per note, and leather-covered hammers.
Introduction to Mozart’s fortepiano.
Concertos and sonatas by Mozart were written for instruments of this type. This instrument had a softer and clearer sound than modern pianos, and also allowed notes to be sustained longer.
From Fortepiano to Modern Piano
From 1790 to 1890, the classical-era fortepiano underwent numerous changes that led it to its current form as the modern piano. This period of transformation marks a major step in the history of the piano, motivated by the permanent need of composers and pianists for a more powerful sound and greater expressive possibilities.
It was made possible by the ongoing industrial revolution, which provided piano makers with technological processes allowing them to produce high-quality steel strings and greater machining precision for the production of cast-iron frames.
Für Elise, played on a Fortepiano, was written in 1810 by Beethoven. More about Für Elise on grand piano.
During the first part of this period, the technological advances brought to the fortepiano owed much to the English firm Broadwood. It already had a great reputation for the powerful and majestic sound of its harpsichords.
The firm, which sent its instruments to Haydn and Beethoven, was the first to build fortepianos with a range of more than 5 octaves. 5 and 1/5 octaves in the 1790s, 6 octaves in 1810 (which allowed Beethoven to use the added notes in his later works), and 7 octaves in 1820.
The Modern Piano
During the 1820s, the firms Érard (1780-1959) and Pleyel (Paris – 1807) developed the instrument and engaged in stimulating competition.
It is known that Chopin and Liszt used their pianos. The Érard firm certainly brought the most important innovations, especially from the point of view of the instrument’s mechanism.
Érard Double Escapement (Repetition System)
It was in 1821 that Sébastien Érard invented the repetition system, commonly and improperly called double escapement. Reserved for grand pianos, this innovation, which allows a note to be replayed even if the key has not yet returned to its initial position, played a notable role in the history of the piano.
Pianist Martha Argerich performs D. Scarlatti’s Sonata in D minor K.141, particularly
rich in repeated notes, on a modern Steinway & Son. You can listen to the same sonata played on a harpsichord.
Improved by Henri Herz around 1840, the principle of double escapement is an important improvement in piano history. It eventually became the standard mechanism for grand pianos, used by all makers.
Other important innovations were introduced during this period:
- the use of three strings instead of two for all notes, except the lowest ones
- the metal frame
- the crossing of the strings, with the bass strings passing over the white strings and resting on a separate bridge
- felt-covered hammers
- the tonal pedal, invented in 1844 by Jean Louis Boisselot and improved by the maker Steinway in 1874.
The modern grand piano reached its current form around the beginning of the 20th century.
Upright Piano History
The upright piano was invented in the early 19th century to make the instrument more compact and suitable for domestic use.
The first known vertical piano was created by John Isaac Hawkins in London around 1800. Early developments continued in Austria and Germany, with makers such as Matthäus Müller producing improved models.
In 1826, Robert Wornum in England perfected the upright piano mechanism, making it more reliable and practical for home settings.
By the mid-19th century, the upright piano had become the preferred household instrument, offering an affordable and space-saving alternative to the grand piano.