The Parisian Music Salons

The name of this blog is the salon music, but what does it actually refer to? And why did I chose to name my blog as a music salon?

To begin with, salons started appearing during the Enlightenment in the 18th century. It was a place where women dominated. Women served not only as hostesses but also leaded the topics of conversations. The Parisian salons of the 18th century, allowed women to be involved socially, intellectually, to be heard and to play a vital role in the French society. These gatherings took place in the private homes of bourgeois women which were opened to the public allowing common people to network with the aristocracy, with the nobility of the salons. These social gatherings engaged various activities and subjects such as politics, literature, science, art, philosophy. Some of the salons though had only specific themes for discussion.

The aesthetic experience was an important aspect in the salonierres. Poetry and literature, music and art dominated the gatherings without requiring the audience to be experts in the topics. For instance, the salonierre by Madame Germaine de Staël (continuing after her mother Suzanne Curchod) was one of the biggest salons where artists, writers and critics would discuss literature, politics as well as perform music and read poems.

Moving to the 19th century salon, the idea of the salon developed and it was not only limited to the French aristocratic gatherings by the French women for the social, intellectual and political conversations. It was a closed meeting of a circle of people away from the masses, which were held in specific rooms where people would meet. In general, the word salon refers to a small room in the house. In the 19th century salons may referred to gatherings, ie the salon music, the salon culture, the salon atmosphere, or even the Salon Pleyel (one of the smallest concert houses in Paris for public performances).

The music salon was a small gathering of specific people, of elite people. As a room, it was a separated room in a house for the reception of visitors. During the 19th century, composers, musicians and people from the aristocracy would meet in salons and listen to music. The music that was performed was usually short pianistic, romantic music. Eventually, from 1830, the notion of the salon music being of a specific genre, especially for solo keyboard of virtuosic level that lies within the romantic style of displaying emotional character emerged. Afterwards, music became the means of the salons. The youngest lady of the house would perform in order to show her skills to their guests.

Frederic Chopin was the master of the salon music. From his teenager years he preferred to play to small crowds instead to large open spaces. Therefore, the salons were ideal for Chopin. In fact he only gave 30 public concerts. Chopin never wrote any programmatic music, he has never written any music with a specific narrative. So basically his music is absolute music. Absolute music may not have a programme but some genres have an implied political meaning; such mazurkas and polonaises. Because of that many scholars oppose to the connection of Chopin with Salon music claiming that his genius was not limited only in salons.[1] Nonetheless, whether his ‘genius’ was limited to the salons, and whether that is true or not is another subject. The only thing for sure is that Chopin was indeed part of the Salon Tradition of the 19th century. This is also proved when Liszt wrote that

“the most eminent minds in Paris frequently met in Chopin’s saloon. Not in reunions of fantastic periodicity, such as the dull imaginations of ceremonious and tiresome circles have arranged, and which they have never succeeded in realizing in accordance with their wishes, for enjoyment, ease, enthusiasm, animation, never come at an hour fixed upon before hand”.[2] 

Wilhelm von Lenz calls Chopin as the only political pianist since he represented Poland, the land of his dreams, at the Parisian salons. Chopin’s polonaises, as Liszt writes, “portray bravery and valor…of his warlike nation” and his mazurkas reflect the folk Polish dance.[3] Lenz also holds that the mazurkas are the diary of Chopin’s soul journey through the socio-political areas of his Sarmatian dream world.[4]

The salon at Hôtel Lambert by the Czartoryski family became a central political place “for the expatriate Polish nobility and artistic community” where Polish politicians, artists, aristocrats and exiles were gathered together.[5] Chopin frequently performed at the salon and even dedicated some of his compositions to its members; such as Mazurkas Op.30 to Princess Wurtemberg and Princess Czartoryska. Nonetheless, he only engaged political through his music and not directly in political or social activities.

Teofil Kwiatkowski – a Polish painter at the salon – painted Chopin’s Polonaise Ball at the Hôtel Lambert in Paris portraying the annual ball at the salon with Chopin at the piano. This shows how the Polish society in Paris gathered together, dancing a polonaise by Chopin which for the Polish nobility at the salon has an implied Polish political meaning.   Video: Polonaise A flat Major ‘Heroic’, Op.53

Polonez Chopina czyli Bal w Hôtel Lambert w Paryżu.jpg

Polonez Chopina czyli Bal w Hôtel Lambert w Paryżu  by Teofil Kwiatkowski

Furthermore, Berlioz wrote in Le Rénovateur on the 15th of December 1833 – translated by Eigeldinger – that in order to appreciate Chopin fully one has to listen to him perform in the salon instead in the concert hall “with all preconceived notions put aside”.[6] Berlioz may be right saying that there are preconceived notions in a concert hall, however regarding the particular salon there is already a Polish political notion and by performing Polish dances one cannot but link a Polish meaning to the music.

In spite of that, Chopin has also performed in Parisian salons and his programme did not only include Polish dances. From reviews and letters it is observed that the audience did not perceive a specific meaning in the music, but admired the skills of Chopin as a composer and as a performer. On the 25th of February 1832 Chopin played at the salon of MM. Pleyel et Cie. Fétis in his review wrote that Chopin’s concerto (Op.11) gave as much astonishment as pleasure to the audience as well as that there was soul in his melodies, fantasy in the passages and overall originality.[7] He also added that the young artist deserved praise as a performer since his playing is elegant, soft, graceful and has brilliance and clearness.[8]  Video: Chopin Piano Concerto Op.11

In salons free of politic notions, the audience admires the music and the performer and overall perceives the beauty of music. For instance, when Charles Hallé heard Chopin for the first time he quoted that “it was perfection in every sense”, that he could not even describe the “marvellous charm, the poetry and originality, the perfect freedom and absolute lucidity of Chopin’s playing”.[9] Then in 1836 after listening to Chopin he wrote to his parents that Chopin “is no man, he is an angel, a god”. And then described an image of how he perceived Chopin’s music, which is “elves and fairy dances” and that Chopin’s composition seemed “to descend from heaven-so pure, and clear, and spiritual”.[10] Hallé’s description shows his experience of the music salons free of any political notions. So, even if there was a political and social aspect in the gathering, Hallé enjoyed the aesthetic aspect. So this shows that music dominated the gatherings.

When mazurkas and polonaises were performed in a Parisian salon the audience may acknowledged that there was a political meaning, however the audience would not perceive the music in the same way the Polish audience of Hôtel Lambert would. Overall, the audience of Parisian salons appreciated, enjoyed the music and perceived it through their imagination like Hallé who imagined elves and fairy dances.

There is a myth that Chopin during his early years, 1828-1829, performed at the Salon of the Duke Antoni Radziwiłł. Henryk Siemiradzki’s painted around 1887 iconographic representations of the fact which shows Chopin at the piano and the Duke himself. Yet, there are not enough information to prove the Duke was actually presented. Thus the paintings may be a false interpretation of the fact.

Koncert Fryderyka Chopina w salonie księcia Antoniego Radziwiłła w 1829 r. [A concert given by Fryderyk Chopin in the salon of Duke Antoni Radziwiłł in 1829] by Henryk Siemiradzki.

Henryk Siemiradzki painting

Guest-Hall of Anton Radziville in Berlin

The following painting is by a living artist Władysław Kolbusz and it was firstly presented at the 60th International Chopin Piano Festival. The painting shows Chopin at the piano, performing in the Dworek Chopina, located in Duszniki Zdroj in Poland.

Władysław Kolbusz

Even though there were many composers associated with the salons, Chopin was the master of the salons. Other performers/composers include Sigismond Thalberg, Carl Maria von Weber, Franz Liszt. The following painting shows Franz Liszt at the piano. It was painted in 1840 by Josef Danhauser and it was commissioned by Conrad Graf (the piano instrument maker).

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The particular painting represents a Romantic music salon gathered by notable artists of the romantic era. Franz Liszt, who is playing the piano, is surrounded by six friends. In the painting there are six notable romantic artists (3 novelists and 3 musicians). From the left of the painting Alexandre Dumas, writer of The Three Musketeers, sits on the first chair. Next to him, dressed as a man and smoking a cigar is George Sand, Chopin’s lover. Behind her Victor Hugo, the writer of the famous Les Misérables, leans on the back the chair. On the left of Liszt there is the violinist Nicoló Paganini and Gioachino Rossini, the opera composer, and the third musician is of course Franz Liszt. The lady sitting on the front of the piano on the right of Liszt is his Mistress Comtesse Marie d’Agoult (later Riuchard Wagner’s wife).

Additionally, if you look closely the leading romantic figure Lord Byron is depicted on the painting at the back. As well as Beethoven as a bust on the right hand side. On the left side there is also a small statue of Joan of Arc. Unfortunately the photos are not clear enough, and since I have not personally seen the painting in its live form, I cannot comment on the music scores found. Nonetheless, according to Phil Norfleet the scores on the piano are a Fantasia by Liszt and the Marcia funebre – Sulla morte d’un Eroe by Beethoven. Regarding the scores on the floor, one of them includes an inscription  dédié a son élève Liszt – C. Czerny.

Overall, the painting represents intensely a romantic salon with music being superior to the other arts since the main figure of the painting is an active musician. This blog is indeed named after the Music Salon gatherings of the 19th century since it is also a 19th century music blog, a music blog ‘salon’ for a romantic aesthetic ‘experience’.


[1]  Wilhelm von Lenz, Die Grossen Pianoforte-Virtuosen unserer Zeit aus persönlicher Bekanntschaft. Liszt – Chopin – Tausig – Henselt, (Berlin: B. Behr Buchhandlung, 1872).

[2] Franz, Liszt, Life of Chopin. Translated by Martha Walker Cook, (Boston: Oliver Ditson & Co., [1863]), 89.

[3] Franz Liszt, Frederic Chopin, trans. by Edward N. Waters, (New York: Free Press of Glencoe, 1963, 43.)

[4] Wilhelm von  Lenz, Die Grossen Pianoforte-Virtuosen unserer Zeit aus persönlicher Bekanntschaft. Liszt – Chopin – Tausig – Henselt, (Berlin: B. Behr Buchhandlung, 1872, 86.)

[5] Eigeldinger Jean-Jacques, Chopin: pianist and teacher as seen by his pupils, Translated by Naomi Shohet, Kyrisia Osostowicz and Roy Howat, edited by Roy Howat, (Cambridge et al.: Cambridge University Press, 1986, 163.)

[6]  Ibid, 272.

[7] François-Joseph Fétis, Revue Musicale Tome XII.-VI Année 1832, (Paris: De l’agence générale de la musique, 1832), 38-39.

[8] Ibid.

[9] Charles Hallé, Life and Letters of Sir Charles Hallé, edited by C. E. Hallé and Marie Hallé, (London: Smith, Elder & Co., 1896), 31-32.

[10] Ibid, 224-225.



The Étude in the 19th century

In this post I will discuss a musical genre, the étude,  that emerged in the early 19th century and became extremely popular for the piano.

The French word étude literally means study. In music it refers to the specific musical genre used for pedagogical purposes. On certain occasions, composers named their compositions as exercises rather than studies. At the beginning of the nineteenth century, the genre referred to instrumental pieces used as exercises and aimed at a specific technical difficulty.

Études were primarily designed to be pure exercises, yet not in all instances. In regard to the 30 Essercizi per gravicembalo (1738) by Domenico Scarlatti, the exercises resemble performance music pieces, not exercises for pure technique. Howard Ferguson and Kenneth L. Hamilton argue that the form and significance of the exercises are the same with his sonatas.[1] Thus in the specific collection, both technique and musicality are important. Études are not observed in treatises and pedagogical manuals, nevertheless Ferguson and Hamilton believe that “many variously named pieces” before the nineteenth century could be considered as studies.[2] For instance, the 12 Handstücke found in Türk’s Klavierschule 15 (1789) as well as the Probestücke found in the Versuch über die wahre Art das Clavier zu spielen 16 (1753) by C.P.E. Bach.

In the early nineteenth century, the popularity of the piano began growing and the études were widely favoured for their pedagogical aims. Composers like Carl Czerny, who published a vast number of studies, started publishing collections with instructions for both the amateur and the professional pianists. The title of the collections indicates that the studies were accomplished for the exercise and improvement of technical skills. For example, he published the 30 Etudes de Mécanisme Op. 849 and the 50 Übungsstücke für Anfänger Op.481 (1837) as well as collections with exercises for the hand, fingers and the piano technique. Czerny did not identify all the collections as studies; instead the term ‘exercises’ was adopted when referring to some of his collections or named them after the skill he intended to develop, such as Oktavenstudien Op. 553 ([1838]) and Praktische Fingerübungen Op. 802. 

In February 6, 1836 Schumann wrote in the Neue Zeitschrift für Musik the article “Die Pianoforte = Étuden, ihren Zwecken nach geordnet” in which a variety of études were listed in order and categorised according to their technical aims. The list was prefaced by an introductory essay in which Schumann considered Chopin, J. S. Bach, Clementi, Cramer and Moscheles to be the most important composers of the studies. The studies at the beginning of the century were conducted to enhance technique and they consisted of specific pattern and scale repetitions; thus, they lacked musical development. Schumann article p.45Schumann article p.46

Études increasingly developed and became musically interesting to a greater extent. They were employed for performance as well as for the instruction of the pianist; and their aim was to provide solutions for technical difficulties and practise specific styles. Eventually a study from an exercise for the mechanical skills developed into an art from, a concert study, which is a technically demanding musical piece, aimed for performance and not for instruction. The path to the development of the study can be observed from a few compositions such as Schumann’s Etudes after Paganini Caprices Op. 3 (1832). The latter are short pieces preceded by exercises and instructions aiming at specific difficulties noted in the studies. It is indicated that the musical pieces themselves were not considered as pure exercises any longer, since the collection had specific exercises prior to the studies. Furthermore, Moscheles’ Grand Characteristic Studies Op. 95 – like Scarlatti’s Essercizi per gravicembalo – aim at both the performance and the improvement of technique of the professional pianist. There are not particular instructions for each study, even though a preface exists with a general instruction. The studies also contain specific titles that set a specific mood which communicates a programmatic musical aspect.

The étude from a pure exercise developed into an art form and earned a place into the concert repertoire by Frederick Chopin. His études, Opus 1025 (1833) and 2526 (1837) as well as his Trois nouvelles études (1840), are technically challenging. Each study includes a specific musical technical difficulty concurrently with a musical aspect. The studies are not intended as exercises for the pupils. They have no instructions and no specific titles assigned by Chopin – even though several studies have nicknames.

The development of the étude is also viewed in Liszt’s music. Liszt developed his collection of studies Étude en douze exercices, S.136 (1827) over a twenty-five year period. Not only he revised the collection, but he also changed the title of each revision. In 1839 the collection was revised into Grandes études S.137 and in 1852 in Études d’exécution transcendante S.139.

The studies of the first collection (S.136) are technical exercises. Liszt revised the collection, assigned a musical style to the studies and renamed the collection into Grandes études. As a consequence his influence in the development of the genre is examined. He ceases to refer to the collection as pure exercises and even though the didactic element is present, it is not considered the most important aspect. Finally, a programmatic aspect was attributed to the collection in 1852. Liszt allocated various titles to most of the studies – like Moscheles’ Opus 95. The didactic element is no longer evident and the studies, which were viewed as technical exercises, developed into highly demanding concert pieces.

The pedagogical aspect of the genre was not lost, despite generating from technical exercises and subsequently evolving into the concert study. There was the étude for didactic purposes, the concert study and the étude serving both pedagogical and performance aspects. Studies for pedagogical purposes were identified through the title of the set. For instance, Moscheles’ Opus 107 The Daily Companion, or practical & progressive exercises on the harmonised scales The same applies for studies aiming the concert hall, such as Liszt’s 3 Etudes de Concert. The concert studies include technically challenging and musically expressive elements. The third study of Liszt’s 3 Etudes de Concert must be performed allegro affetuoso. It also requires delicate fingers especially at the cadenzas. Its main technical difficulty is the alternation of crossing hands (example 1) and Liszt requests that the notes with the stems pointing down are to be played by the left hand, and with the stems pointing up with the right.

Example 1 Video: Étude No. 3, Un sospiro – Franz Liszt

Liszt example 1

Collections bearing only the title études usually serve both pedagogical and performing purposes. They have a technical difficulty as well as a musical unity. For instance, Huneker characterised Chopin’s studies as “poems [that] fit for Parnassus, yet they also serve a very useful purpose in pedagogy. Both aspects, the material and the spiritual, should be studied”.[3] An example, highly praised for its character, is his second study of Opus 25. Schumann called it as  lovely, dreamy and quiet, something like singing the child to sleep.[4] The difficulty of the particular study is the rhythmic independence of the two hands as well as the speed. Both hands play triplets, although the left hand is in crotchets and the right in quavers (example 2).

Example 2  Video: Etude Op.25 No.2 – Chopin

Chopin example 2.png

Throughout the centuries études were composed due to educational as well as performance purposes. The genre developed into the concert study and earned a place into the concert repertoire. Nonetheless, studies were still composed for the improvement of technique and performance. Even though there are collections that do not provide any instructions, most studies clarify their purpose in the preface with specific guidance.


[1] Grove Music Online, s.v. “Study”, by Howard Ferguson and Kenneth L. Hamilton,§=1#firsthit

[2] Ibid.

[3] James Huneker, Chopin, the man and his music, (New York: Charles Scribner’s Sons, 1918), 143.

[4] Robert Schumann, “12 Etuden für Pianoforte von Friedrich Chopin”, Neue Zeitschrift für Musik, Band 7, No. 50 (December 22, 1837): 199.


Music editions and Frederick Chopin (Ballade No.4 Op.52)

Performers often find themselves in a situation where they have to choose which publication to use. There are many different editions, by different publishers and music editors. If you compare editions in detail you may find that firstly the fingering numbering differs, then the articulation, the dynamics, the pedal markings and even some notes.

When a publication is edited, the editor usually chooses and adds specific fingering that they believe works out the best. Some notes may be wrong due to the copyist’s mistake and so on.

The questions that rise are:

  1. Which is the most reliable edition to use?
  2. ‘Which edition is closer to what the composer actually wrote?

Firstly, there are the Facsimile Editions. Facsimiles are basically a photographic reproduction of the earliest sources, such as the autograph or even the first edition. Facsimiles are mostly used by specialists for further studying. There are also the Printed replicas, which is the music of the original notation, yet it uses printed fonts and not photographs.

Then there are the Historical Editions, which is printed music that includes scholarly/critical editions, collected/complete works and monumental editions. 

Scholarly/critical editions are the closest editions closer to the composer’s intentions. These editions are created by examining in depth all versions of a specific piece, such as facsimiles, autographs (the composer’s  manuscript), first editions, early printed editions etc. Are the surviving autographs early sketches, the first published edition or a revision? If there are not surviving autographs, then one has to take into account whether an existing copy is a reliable one by considering how close the copyist was to the composer and whether it actually reflects the composer’s style. This is done in order to create the most authentic and accurate edition by employing a deep musical understanding, and historical knowledge. These editions include a preface and critical reposts with descriptions of the different versions and/or the performance practice of the time. Additionally, footnotes may be included which they usually provide the different variations of other editions. One thing that is challenging is that many early printed editions contain mistakes that are usually copying mistakes. Or it may be that the composer decided to make a change.

The Urtext editions (meaning the “original text”) are considered to be the “original” music written by the composer. The original aim was to present the composer’s original intention. Nonetheless, their purpose could not be succeeded. Firstly, the autograph and the first edition are not always identical. Therefore, the editor had to decide what to print in the Urtext edition, which is more about a choice of the available sources. Secondly, the surviving autograph does not ideally mean that it was the composer’s intention, but it may have been a first sketch. At the end of the day is all about the editor’s interpretation of what it should be and not what it actually is. Thus the use of the word ‘Urtext’ is quite problematic in regards to musical editions. Nonetheless, most musicians uncritically accept Urtext editions as thoroughly researched editions, that respond to the actual intention and original aim of the composer. The musician trusts the edition especially when it appears ‘correct’ such as having good fingering markings. Then the musician does not consider alternations. If the edition was double read, and the editor chose what to print, why would a musician bother to read the critical notes?

Collected/Complete Works editions are multi-volume sets of the music of specific composers (also called Gesamtausgabe), or of specific musical repertory. The Monumental Editions (also called Denkmäler) usually contain music of specific time period, genre, or geography. For instance there is the Denkmäler deutscher Tonkunst (Monuments of German musical art) which covers the Baroque and Classical period and the Denkmäler der Tonkunst in Österreich (Monuments of musical art in Austria).

On the other hand there are also the interpretive/performance editions, where the editors edits the music in way they believe it should be performed. They usually choose a specific edition and eventually create their own interpretation of the composer’s work by altering the dynamics, the articulation, the musical expression etc. For instance, interpretive editions by performing musicians are by Artur Schnabel (especially in Beethoven’s music) and Ignacy Paderewski. In some interpretive editions one may recognise the editor’s additions since they are usually distinguished by parentheses, font size etc.. from the composer’s own markings.

Frederick Chopin’s editions

The best example regarding different editions is by Frederic Chopin. Chopin published most of his music simultaneously in three different countries, France, England and Germany.

Because of the laws of the time, Chopin published his music simultaneously in order to avoid piracy of his music that would cost him to lose control of his printed music. The copyright protection laws were different in each country. For instance, the music published by Chopin early in his life in Warsaw, was not legally protected in the other countries, therefore Rondo Op.1 exists in two French and two German editions. In France, the copyright lasted 10 years after the author’s death, in Chopin’s case until 1859, in Germany and Austria 30 years, therefore until 1879. In England, music that was published before July 1, 1842 was legally protected for the composers life or for 28 years after the first publication. Music published after the amendment of 1842, was protected for 42 years or for 7 years after the composer’s death.

Additionally, in France in order for an author to be in a position to resell his rights, the work should have been published either simultaneously abroad and in France or firstly in France and then abroad. In England, if the work was published simultaneously or firstly in Britain then a foreigner author was permitted to copyright protection. In Germany, if foreign publications were firstly published in France and in England then the works could have been reproduced freely in Germany without the author having any rights to copyright laws.

So, not only there were more Stichvorlagen of Chopin’s music, but there were three first editions of his music. Autographs are usually not reliable because of the changes they undergo through the process of printing before the first edition comes out, which also applies to the first editions since sometimes the composer would still correct and alter them. Chopin’s first editions can be found in the CFEO in OCVE.

The three first editions of Chopin’s music are not always identical to each other. Some of the differences may have been mistakes by the copyist, or even deliberated alternations. In some instances, Chopin made different corrections for each publisher. Despite that , in many cases the German edition is very similar to the French edition. In general, composers continued revising their music even after the first published edition, therefore the second edition may be slightly different to the first edition. When the editions differ, one thing to consider is were was the author at the time of the publication.

For instance, Chopin lived in France, therefore he could have made more alterations to the autograph already given to his publisher Schlesinger. Whereas, once the British and German autographs were sent to the publishers, Chopin could have only requested changes through letters. Before an edition was published it was firstly proofread. Chopin himself proofread most of his French first editions and sometimes he would ask his friend Julian Fontana to do it instead. The English first editions of Op. 1, 3, 5, 10, 11 have information that on their title pages that they were proofread by Julian Fontana during his stay London. It also seems that Clara and Robert Schumann have revised some of Chopin’s late works in the first Leipzig editions.

Op.1 rondo wessel

Rondo op.1 Wessel&Co “Nouvelle Edition corrigée par son élève J. Fontana”

Ballade No.4 op.52

Video: Ballade No.4 by Evgeny Kissin

During my master’s degree I have compared two editions of Chopin’s Ballade No. 4. I will give an example of my research (not including the comparison of the editions since my aim is not to analyse music) in order to show how the different editions and researches are done to determine which edition is the most reliable and authentic.

The two editions I compared are:
  1. Frédéric Chopin. Complete Ballades, Impromptus & Sonatas edited by Carl Mikuli published by Dover.
    • The particular score is an exact reprint of G. Schirmer. This is seen from the bibliographical note; “a new compilation of works originally published by G. Schirmer, New York, in separate volumes of Schirmer’s Library of Musical Classics under the group title ‘Frederic Chopin. Complete Works for the Pianoforte’.
    • It includes a Vorwort (foreword) by Mikuli firstly published in Leipzig in 1879 by Fr.Kistner; Pianoforte-Werke, revidirt und mit Fingersatz versehen (zum grössten Theil nach des Autors Notizingen) von Carl Mikuli (Chopin’s works, revised and fingered by Chopin’s pupil Carl Mikuli).
  1. Frederic Chopin, Ballads edited by Frank Merrick and published by Novello.
    • There is only the bibliographical note referencing the source of the edition -reprint of G.Schirmer – and a three-paragraph introduction, followed by Mikuli’s Vorwort.


Chopin diagrapm (1)

Stemma of the Dover Edition

Firstly, the three first editions of Ballade No.4 op.52 are not identical. The publishers tended to make mistakes or deliberate changes, hence corrected reprints followed. For the case of Op. 52, Breitkopf & Härtel published quite a few corrected reprints all of them using the same plate number, thus at the time it was impossible to tell which was the first edition.

The most reliable first edition is the French edition by Schlesinger. According to Karol Mikuli, Chopin would made changes or add improvements during the engraving. This is also seen through Chopin’s letters with Maurice Schlesinger.  So, as previously mentioned once the German and English Stichvorlagen left Chopin’s hands, Chopin did not have any control over them.

When Chopin’s works entered the public domain, new editions started being published with the names of the editors on the title page – such as Chopin’s pupils. On the other hand, the successor of Schlesinger – Brandus – released an edition of Chopin’s complete works titled as being the only authentic edition, without changes or additions and the corrections made were corrected by Chopin himself;

Edition originale / Oeuvres complètes pour le piano de Frédéric Chopin / Seule édition authentique sans changements ni additions, publiée d’après les épreuves corrigées par l’auteur lui-même.

This shows the contrasting variants that were published. The following figure shows the first editions – not having a specific editor but ‘strictly’ deriving from Chopin’s autographs – even though the editors of the publishing firms interfered, specifically in Germany and England.


Out of the three Stichvorlagen of the ballade, only one survived and it is held at the Oxford Bodleian Library as part of the Margaret Deneke Mendelssohn collection. There is a facsimile with a commentary discussing the physical condition and the history of the autograph by Jim Samson. The autograph, as stated by Samson, “is mounted in an oblong album bound in dark red morocco with gilt tooling and edges”.[1]

There is also a rejected autograph surviving which is held in a private collection in the USA. Maurice Brown calls it a sketch of the ballade.[2] On the other hand, Samson argues that Brown is wrong and “there are no extant sketches for any of the ballades”.[3] He adds that the autographs and manuscripts “have been incorrectly classified”.[4] Nevertheless, the rejected manuscript has no title, consists of the first 79 bars, is in 6/4 instead of 6/8 and only the first four bars have pedal markings and articulation.

The Stichvorlage of the Margaret Deneke Mendelssohn collection is incomplete and it includes only the first 138 bars. On the right top of the page, the title of the ballade and the dedication are found; “Ballade, pour le piano, dedié à Madame la Baronne C. Nathaniel de Rothschild par F. Chopin | Leipsic Haertel. – Paris Schles. – Londres Wessel et Stapleton.  Oev. 52.”

Autograph part.png

The layout of the note proves that it is the German Stichvorlage sent to the German publisher by Chopin since the layout of the German title page is the closest to the autograph’s  note.


Breitkopf & Härtel

In addition, according to Samson, the Stichvorlage was owned by Breitkopf & Härtel and was then passed down to Felix Mendelssohn. In 1844, Mendelssohn gave to his wife – Cécile Mendelssohn – an album as a Christmas present, which included Chopin’s Stichvorlage. This album was then passed down – after Cécile’s death – to their daughter Frau Geheimrat Lilli Wach and then to Maria Wach – Lilli’s daughter. Maria Wach then sold the album to the Bodleian Library, where her friend Margaret Deneke “had already deposited a substantial Mendelssohn collection passed on to her by the composer’s grandson, Paul Victor Mendelssohn Benecke”.[5] Therefore, the album is part of the Margaret Deneke Mendelssohn collection.

A question raised by Jeffrey Kallberg is what was the purpose of the different manuscripts since it is observed that the autographs “did not have the same function” since “the degree of compositional completeness varies greatly from one autograph to another”.[6]

Kallberg believes that Chopin’s attitude of allowing “different readings of a work to appear in print at the same time” is what it “distinguishes” him. He writes that “it seems that Chopin did not feel compelled to mask all traces of the act of composition; nor did in a sense the creation”, thus “in a sense the creation of a work becomes part of its aesthetic property”.[7] All these point to the conclusion that Chopin intentionally allowed his music to be published simultaneously in three different countries, knowing that they will not be identical. Even though only one Stichvorlage survives for Op.52, we may assume that the three Stichvorlagen were not identical, thus the differences. In agreement with Kallberg, “Chopin [most likely] knew he was mailing different versions…but chose not to bring them into agreement”.[8] Therefore, there is not an ideal authentic and correct version of his music.

In regards to op.52, the different editions that exist all derive from the Stichvorlagen and the first editions. Mikuli’s edition is more reliable since his aim is to provide the performer with a music score as close as possible to Chopin’s interpretation. He does that through his personal experience, his notes and his own editions as well as from other pupils’ editions marked by Chopin and through Chopin’s autographs, whereas Merrick’s is a performance edition aiming at students.

It is observed that Merrick is influenced by the English edition and Mikuli’s edition. He bases notation on Mikuli’s edition – except one instance which may be due to personal preference – but not articulation which is sometimes influenced from the English edition. Additionally, he only gives importance to the dynamics and the pedal. He does not shape his phrases, barely articulates and treats ritardando, ritenuto and smorzando the same. The rhythmic flexibility connected with expression in Merrick is left upon the performer since ritenuto and ritardando are not distinguished, thus all of them are performed in the same way. Merrick is only concerned with the technique of the student – fingering, pedal – and not the expression of the ballade. Phrasing in Chopin is important since it shapes the melodic line together with the dynamics. Merrick only gives expressions and dynamics in brackets, however they do not have to be followed by the performer. If the performer follows only the ones that are not in brackets though, then the performance of the ballade will be too simple.

Due to the different variants that were published by Chopin it seems that there is not an ideal edition. One of the reasons that Chopin may have allowed different interpretations of his music may be because Chopin never played his music alike. Eigeldinger quotes; “Chopin never played his compositions twice alike, but varied each according to the mood of the moment”; “Chopin never played his works twice with the same expression”.[4] This shows that Chopin interpreted his music differently; hence this may be why he leaves behind different autographs and editions of his music. Nonetheless, Mikuli’s edition is more reliable not only because of his sources but also because it is not his own interpretation of the ballade.

Even though there are different interpretations by Chopin himself, it seems that he is specific with his expression markings since each marking serves its own individuality in expression which adds to Chopin’s aestheticism. Overall, Mikuli’s edition may seem as too detailed and Merrick’s as too simple while simultaneously too mechanical in the dynamics and the pedal. Nonetheless, I believe that Mikuli’s edition is indeed more reliable. Even if it is not completely authentic it reflects Chopin’s style and expression. Interpretations of Chopin’s music are acceptable since even Chopin himself ‘never played his works twice with the same expression’. Additionally, due to changes of the mechanism of the piano, the resonance of a piano in Chopin’s time is not identical with a modern piano. Nevertheless, interpretations should not distort the originality of the piece and the composer’s style.


[1] Frédéric Chopin, Fryderyk Chopin Ballada F-Moll  Op.52 | Ballade in F minor, Op.52, Komentarz źródłowy | Source Commentary, Jim Samson, (Warszawa: Narodowy Instytut Fryderika Chopina, 2009), 21.

[2] Maurice John Edwin Brown, Chopin: An Index of his Works in Chronological Order, (London: Macmillan & Co., New York: St. Martin’s Press, 1960), 141.

[3] Jim Samson, Chopin: The Four Ballades, (Cambridge: Cambridge University Press, 1992), 20.

[4] ibid.

[5]  Frédéric Chopin, Ballade in F minor, Op.52, Source Commentary, Jim Samson, 21.

[6]  Jeffrey Kallberg, “The Chopin sources: variants and versions in later manuscripts and printed editions”, (Diss. University of Chicago, 1982), 3.

[7]  Jeffrey Kallberg, “The Chopin sources: variants and versions in later manuscripts and printed editions”, 1.

[8]  Jeffrey Kallberg, Chopin at the Boundaries: Sex, History, and Musical Genre, (USA: Harvard University Press, 1998.), 218.

[9] Jean-Jacques Eigeldinger, Chopin: pianist and teacher (Cambridge: Cambridge University Press, 1986), 55.







The Modern Piano

Continuing from my previous post, The Pianoforte until the end of the 18th century, the piano continued evolving.

Southwell upright piano 1798


I have previously discussed the attempts of creating upright keyboards such as the clavicytherium and the pyramid piano. In 1798, William Southwell experimented with the square piano in order to create an upright square. Similar to the pyramid piano, was the upright grand. The style of an upright grand incorporating a bookcase was firstly made by William Stodart c.1795. The instrument was used domestically as a piano and as a furniture. This piano was a transition from the horizontal grand piano to his cabinet piano. 

In 1800, the soundboard was dropped to the floor by John Isaac Hawkins (1772–1855) in Philadelphia. He called his instrument the portable grand piano. The idea was for the piano to be easily moved by handles on each side. The particular instrument was the first attempt of creating an upright piano, with perpendicular strings and an iron frame. It was the first time that the soundboard was dropped to the floor. The piano has double strings, a moderator and a swell, which opens shutters in the case below the keyboard.

At the same time with Hawkins, the Viennese instrument maker Matthias Müller had also created an upright piano, the vis-à-vis Ditanaklasis. Müller’s instrument had two keyboards for two players. The keyboard with black naturals and white sharps is at 4 foot pitch and the other keyboard with white naturals and black sharps is at 8 foot pitch. In 1803 he built a ditanaklasis with one keyboard. The strings of the instrument were struck in the middle of the string, which produced a sound similar to a basset horn.

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In 1807 the Cabinet piano was introduced by William Southwell, and was built through 1840s. Southwell’s aim was to prevent the pianoforte of being frequently out of tune. They were tall  reaching a height of seventy-two inches. The strings of the instrument were placed vertical and the hammers were near the top of the instrument and plucked the strings from the front. There was also a sticker action; stickers extended upwards from the key and controlled by hammers.

Around 1815, Robert Wornum (1780–1852) invented the cottage piano, a short instrument with vertical stringing. In 1826, he added a pizzicato pedal between the two usual pedals. He had also introduced the tape-check action; a check worked against the hammer butt and raised the damper wire.

Ignace Pleyel (1757-1831) with Jean-Henri Pape (1789-1875) imitated the tape-action of Wornum in France. They called their piano a pianino. Pleyel adapted the tape-check action and continued manufacturing pianino’s throughout the 19th century. The action was also modified in Germany and eventually became the action used in the modern upright piano. 

Sébastien Érard (1752-1831) in 1821 patented the double escapement action; which is what is used in the modern grand piano. His action allowed notes to be repeated faster and easier than the single actions that had already existed. In comparison with Cristofori’s single escapement, where the hammer struck the string and fell back even if the key was still depressed. Without the escapement the hammer would be held against the string. With Érard’s double escapement, the jack resets beneath the hammer whilst the key is partially released, allowing the note to be repeated quickly without the hammer returning to its original position.

Something that I found interesting whilst researching Ignaz Moscheles, in his diaries (from Recent Music and Musicians) in June 1, 1825 he wrote:

“Pierre Erard showed and explained to me on a dumb keyboard his uncle Sebastian’s now completed invention, for which the firm has just taken out a patent. I saw the earliest experiment of this invention in Paris. It consists in the key, when only sunk halfway, again rising and repeating the note. I was the first to play upon one of the newly completed instruments, and found it of priceless value for the repetition of notes. In the matter of fullness and softness of tone, there is something yet to be desired, and had a long conversation on the subject with Erard”

In 1830-1831 it he commented that the touch was “vastly improved”. Regarding the tone of the piano, Moscheles’ wife Charlotte Moscheles wrote: 

Moscheles himself, was greatly favored by the improvements made in Erard’s pianos; their organ-like tone and full resonant sounds gave Moscheles such pleasure that no doubt he had every incentive to bring into relief these great excellences, and display them in his adagios. “A very violoncello”, he used to say, praising the tone, which he could prolong without using the pedals; to the excessive use of these he had a rooted aversion. “A good player” he used to say, must only rarely use the assistance of either pedal, otherwise he misuses it”. 

Video: Erard 1850

In 1825 the first square piano with an iron frame was created by Alpheus Babcock (1785-1842).

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Felt hammers pleyel 1844

Felt hammers. Pleyel, 1844.

Jean-Henri Pape in 1826 had introduced the felt hammers (until then leather hammers were used). Felt hammers are still used today.

In 1828, he also had introduced the console piano in Paris, a low upright piano. It was the first instrument to be built with over-stringing, with the bass strings passing over the treble strings.  Video: Pape Console piano 1844

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In 1830, Babcock also patented cross-stringing/overstrung pianos which eventually replaced straight strung pianos. The aim was for strings to cross over one another vertically in order to allow longer strings to fit into smaller frames, by using two bridges instead of one.

In 1843, Jonas Chickering (1798-1853) improved Babcock’s iron frame and arranged one for the first time in a grand piano. Later in the century, the iron frame was altered and improved in order to hold more resistance in grand pianos by Steinway & Sons. From 1853 they have also started using the cross-crossing method in their square pianos which was later applied to their grand pianos. Eventually other builders started applying these methods.

The following year, in 1844, Jean-Louis Boisselot (1782-1847) invented the sostenuto pedal (firstly called sustaining tones). The pedal sustains only the notes that are pressed when the pedal is also pressed. The sostenuto pedal keeps the dampers raised only of the specific keys, whereas the sustain pedal (damper pedal that already existed) raises all the dampers.

Steinway 1874

In 1874 the sostenuto pedal was copied by Steinway. His first design was for the square piano, however he later applied it to his upright and grand pianos.

Video: illustration of Sostenuto and Sustain pedals

Additionally, in 1872 Steinway invented the duplex scaling  which is still used in some grand pianos. Duplex scaling enhances the tone by permitting the part of the string at the end (which is damped and does not vibrate) to vibrate.

During the era, the piano range had increased from the five octaves that Mozart’s piano had. Broadwood firm was the first to build pianos from 1790 having more than 5 octaves and eventually reaching 7 octaves by 1820. Eventually the piano range reached 88 keys with 52 white and 32 black.

Regarding the pedals of the piano, as already discussed they firstly appeared as hand stops, and then as knee levers. A precise date to the transition of pedals is not specified since the transition was not adopted by all the makers at the same time. In England pedals were found earlier. In the previous post I mentioned Americus Backers bi-chord pianoforte of 1772, the earliest English piano surviving with 2 pedals (una corda, sustaining). Later, trichord pianos included a device at the right side of the keyboard which controlled the change from three chords to one or two chords in order to permit una corda. The device was used until 1830. After that the una corda pedal was impossible.

Around 1806 Broawood pianos came with three pedals, an una corda and two for sustaining (the damper rail was divided in the middle C). Because it was impossible for una corda and both sustaining pedals to be used simultaneously the sustaining pedals were replaced by a split pedal which divided in half and performed the same function. Around 1820 the harmonic swell pedal was used by Clementi.  The pedal enhanced the tone by affecting the vibration of the strings.

Graf 1817 6 pedals

Conrad Graf, c.1817. 6 pedal

In France, c.1796, Érard imitated the use of the pedal from the English pianos. Nonetheless none of his grand pianos of the period survived. Viennese pianos started having 4 to 5 pedals after 1805. Concrad Grad (1782-1851) used 5 pedals until 1820 (una corda, bassoon, two degrees of moderator and sustaining). From then and until 1835, he used an una corda, bassoon, moderator and sustaining. A few years later, the bassoon pedal was replaced with a second moderator and in 1839 the piano pedals were reduced to three (una corda, moderator, sustaining). Two of Graf’s pianos had 6 pedals, including the Turkish music pedal. On the other hand, Streicher firm (successor of Stein) had five pedals until 1818 (the fifth pedal was a Turkish music pedal). Afterwards he used 4 pedals (una corda, bassoon, moderator, sustaining) and from 1840 only two pedals.

Summary of the pedals thus far:

  • Bassoon: a strip of parchment comes into contact with the strings to give a buzzing sound (usually part of the Turkish music pedal)
  • Harmonic swell: enhancing the tone by affecting the vibration of the strings.
  • Lute: it was Wornum’s pizzicato pedal. A strip of felt placed in contact with the strings to produce a more lute sound
  • Moderator: applies strips of leather/cloth between the hammers and the strings for a more muted sound (the modern practice pedal)
  • Turkish music: it is like the bassoon pedal however it also includes a drumstick (hitting the piano’s soundboard), a triangle (single bell or 3 separate bells), cymbals (2-3 strips of brass knocked against the bass strings) Video: Piano with Turkish pedal
  • Soft (buff): moves the action closer to the strings, so the hitting distance is less and the sound is quieter
  • Sustaining: raises the dampers on the strings to allow them to vibrate freely when the keys are not depressed, thus sustaining the sound
  • Sostenuto: sustaining only the notes that are pressed when the pedal is also pressed.
  • Una cordashifts the keyboard to the side in order to struck only one string

The Modern Piano

The modern piano exists in two form: the grand piano and the upright piano.

The strings and frame of the grand piano are horizontal, with the strings extending away from the keyboard.  It comes in different size such as as the concert grand which is approximately 3 m., the grand about 1.8 and the smaller the baby grand. The difference is that the longer the piano, the longer the strings used therefore the louder the instrument sounds.

Upright pianos have a vertical frame and strings, with the stringing extending in both directions and the hammers moving horizontally. There are some upright pianos with a tall frame and longer strings. These pianos are called upright grand pianos. Pianos between 107 to 114cm are called studio pianos. And pianos with shorter hammers and a little bit shorter than the studio piano are called console pianos. 

The pedals used in the modern piano are the soft pedal/una corda, sostenuto and the sustain (mostly referred to as ‘the pedal’). There are pianos with the middle pedal (sostenuto) missing. Most upright pianos have three pedals, and instead of the sostenuto pedal, which is mostly found on expensive upright pianos, have the practice pedal. Additionally, the soft pedal on the upright piano is not a truly una corda pedal since it does not shift the action like in the grand piano (the entire keyboard moved to the right in order for the hammers to hit 2 or 3 strings). Thus the left pedal of the upright piano is mostly a half-blow pedal, it moves the hammers closer to the strings in order to reduce the volume of the sound.

The modern piano has 88 keys. The bass strings have only one string, the tenor has two and the treble strings have three unison strings. Therefore, the piano can have up to 236 strings and supports a pressure of 36000 pounds. The strings are made of high-tensile steel wire.

The action of the grand piano is an improved action of Erard’s double escapement and as already discussed some grand pianos have duplex scaling. Whereas the action of the upright is based on Wornum’s tape-check action. The main difference of the two pianos is that because the parts of the upright piano move horizontally, the key must be allowed to come all the way back before it is played again. In the grand piano, a key is repeated after it has only returned to about 1/3 of  its way. Therefore, a grand piano offers more control as well as faster repetition in very rapid passages. What is more, modern upright pianos are overstrung and underdamped (the dampers are situated under the hammers). Straight-strung over-damped pianos are older pianos. The grand pianos are also mostly overstrung.   Video: Grand piano action  Video: Upright Piano action

Bösendorfer’s Imperial 290 Grand Piano has 8 full octaves, 97 keys instead of 88. The extra keys are found in the bass and coloured in black.

Video: Imperial 290 Bösendorfer

Stuart & Sons has also created a piano with 97 keys, and they have also created a piano with a longer range with 102 keys. Stuart & Sons not only have expanded the key range, but they have also added a fourth pedal, the dulce pedal. The fourth pedal acts like a second soft pedal and reduces the intensity of the hammer strike.

Feurich has also added a fourth pedal, the Pédale Harmonique which gives an expressive sound. When the pedal is fully pressed, the notes are not dampened and when it is half pressed, the dampers are raised from all the strings until a note is played, which then causes the damper to fall down in order to mute the note. The other strings left to vibrate sympathetically producing e reverberation. Video: Feurich Pedal Harmonique

Fazioli piano F308 has a fourth pedal which reduces the volume without modifying the timbre. Video: Fazioli F308

Grotrian Steinweg created a double piano the GROTRIAN Duo which allows two pianists to play on one piano. The two pianos are connected by a bridge, thus they sound like one instrument instead of two. The instrument can be separated in order to be played individually. Video: Grotrian Duo

Grotrian Steinweg.jpg

Nowadays, there are many makers and each brand has something different to offer. From upright pianos that offer the tonal quality of a baby grand piano, to pianos with 4 pedals and 102 keys, to crystal pianos, to galaxy pianos and to pianos with different decorations. The most known brands are Bösendorfer, C.Bechstein, Blüthner, Fazioli, Heintzman & Co., Mason and Hamlin, Petrof, Schimmel, Shigeru Kawai, Steinway & Sons (which includes Boston and Essex pianos), Yamaha Corporation and many more!



The Pianoforte until the end of the 18th century

This blog began with the history of the piano and its evolution. I have taken it from the very beginning, discussing the beginning of the string instruments and how they all evolved and contributed to the evolution of keyboard instruments. I have referred to the main keyboard instruments that existed, and how they evolved to the piano. I have not discussed the modern use of those instruments and how they developed after the 18th century.  The aim was to discuss how the piano came to be and how it evolved to our modern piano.

The instruments that I have referred to so far are:

  • Monochord
  • Organistrum/Symphony
  • Chekker/Eschiquier
  • Epigonion
  • Psaltery
  • Hammered dulcimer (santoor)
  • Hydraulis
  • Pipe organ
  • Portative organ (organetto)
  • Positive organ
  • Regal
  • Clavichord (fretted, unfretted, pedal)
  • Clavicymbalum
  • Harpsichord (pedal harpsichord)
  • Clavicytherium
  • Spinet
  • Oval spinet
  • Spinettone
  • Virginal (Muselar, spinett, ottavino, double virginal)
  • Archicembalo
  • Claviorganum

All of those instruments contributed to the creation and evolution of the modern piano. One particular instrument though is considered to be the ancestor of the piano; the dulce melos (doucemelle), a keyed dulcimer, that looked like a clavichord. The strings of the instrument were struck, not plucked, by hammers on keys.

If the instrument existed, none have survived. The only iconographic evidence that exists is by Henri Arnaut de Zwolle from his manuscripts from 1440. He described three dulce melos; the first a normal dulcimer plucked by the fingers or struck by wooden sticks. The second and third instruments were played by keyboard. The second dulce melos had parallel bridges and the third oblique bridges. The instrument had about 3 octaves and twenty pairs of strings with tonal bridges under each group forming an octave. It is possible that Arnaut had only suggested the instrument and that it never existed.

Video: Dulce Melos

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The inventor of the piano was Bartolomeo di Francesco Cristofori (1655-1731) of Padua. In the previous post, I have mentioned that in the late 17th century he created the oval spinet and the spinettone for Prince Ferdinando of the Medici family of Florence. Cristofori  was appointed in 1688 to the Florentine court to look after the Medici musical instrument collection.

The inventory of musical instruments of de Medici in 1700, (Inventario di diverse sorte d’instrumenti musicali in proprio del Serenissimo Sig. Principe Ferdinando di Toscana) mentions a new instrument by Cristofori, the Arpicembalo. The inventory describes the instrument as “a large keyboard instrument by Bartolomeo Cristofori, of new invention that produces soft and loud, with two sets of strings at unison pitch….”.

The journalist Scipione Maffei, in 1711 published anonymously an article where he named the instrument gravicembalo col piano e forte;

Nuova invenzione d’un gravicembalo col piano e forte; aggiunte alcune considerazioni sopra gli strumenti musicali.

The instrument was probably invented around 1698-1699. Nonetheless, a precise date is given in an inscription in Gioseffo Zarlino’s Le Istitutioni harmoniche by a Florentine court musician,  Federico Meccoli. He writes “these are the ways in which it is possible to play the Arpicimbalo del piano e forte, invented by Master Bartolomeo Christofani of Padua in the year 1700”;

Questi sono gl’andamenti che si possono adattare in su  l’Apri Cimbalo del piano e forte. inventato da Bartolomeo Christofani Padovano. l’Anno 1700.

Cristofori attempted to combine the advantages of the clavichord and the harpsichord into one new instrument. The clavichord could be used expressively by controlling loudness and timbre, however because of its size it was not loud enough thus it was used as a home instrument. The harpsichord was mostly a concert solo instrument, yet it lacked the expressivity of the harpsichord. Cristofori’s instrument sounded like a harpsichord but instead of plucking the strings they were struck by hammers. Basically the hammer replaced the clavichords’ tangent and was rebounded from the string, instead of touching the string all the time while it was sounding.

Cristofori invented an action with an escapement mechanism. When the key was pressed, the hammer struck the string and instantly returned back to its position, letting the string to vibrate until the key was released, which then activated a dampening mechanism on a jack to mute the string (adapted from the harpsichord). The hammer was held back by an action called back check, until the player released the key, in order to avoid the hammer from hitting back the string. Cristofori’s action was very light that gave the capability for repetition.

He had also invented the una corda mechanism, which it was the first stop to modify the sound. In the modern piano, the una corda or the ‘soft pedal’ is operated by the left pedal. On Cristofori’s pianoforte though, it was operated by a hand knob located on the side of the keyboard. When it was activated, the entire action shifted to the right, so the hammers would only strike one string (una corda) instead of the two strings that Cristofori’s pianos had.

Cristofori did not live to see music written for his instrument. The first music published for his pianoforte was the twelve Sonate da cimbalo di piano e forte detto volgarmente di martelletti by Lodovico Giustini (1685–1743) in 1732. The sonatas contained dynamic expressions such as più piano and più forte that was impossible to execute on a harpsichord.

Only three of Cristofori’s pianos have survived:

  • 1720 piano, at the Metropolitan Museum of Art in New York.
  • 1722 piano, includes an una corda stop at the Museo degli Strumenti Musicali in Rome.
  • 1726 piano, includes an una corda stop at the Musikinstrumenten Museum at Karl Marx University in Leipzig, Germany.

Video: Cristofori’s 1720 piano    Video: Escapement action of Cristofori’s 1726 pianoforte

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When Cristofori’s drawings and descriptions were published by Maffei in 1711, instrument makers began to recreated Cristofori’s instrument. In 1716, Jean Marius submitted four models of hammer harpsichord (clavecins à maillets), an action for an upright instrument and a down-striking action (wooden hammers attached vertically at the end of the key levers) to the French Royal Academy of Science. In 1725 Maffei’s article was translated to German by Johann Ulrich König who called Cristofori’s instrument a harpsichord of new invention, with soft and loud.

Gottfried Silbermann (1683–1753), a German instrument maker, used Cristofori’s designs and created his own instrument. He copied Cristofori’s actions, yet he failed to copy correctly the back check. Additionally, he invented his own device, the modern damper pedal. The damper action was, like Cristofori’s una corda, controlled by a hand stop on the side of the keyboard. When activated the dampers were lifted away from the strings, permitting them to vibrate. This device though, unlike the modern pedal that is used expressively, it produced a different tonal colour. The device could also be divided, allowing the dampers of the bass and treble sections to be lifted separately.

Around 1703-1704 Silbermann, on behalf of Pantaleon Hebenstreit (1668-1750), created an extended hammered dulcimer. The king of France Louis XIV, in 1705, called the instrument Pantaleon in his honour. It seems by 1727 Silbermann, had added to those large cimbaloms, removable keyboards to make the playing easier. Basically the Pantalon (Hämmerwercke/Hämmerpantalone) was a large dulcimer and had about 200 strings, double or triple. The instrument did not have dampers leaving the strings to vibrate freely.   Video: Silbermann Piano

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In 1739, a new design appeared, the tangent action by Christoph Gottlieb Schröter (1699-1782). The tangent action originates from the clavichord’s action. Both tangents are activated by the player pushing the keys for the tangent to be lifted up and hit the string. Although in the clavichord the tangent stays in contact with the string while the note is still sounding, in the tangent piano the tangent is rebounded, like in the pianoforte’s escapement. The tangent action also has dampers on the jacks to mute the string when the key is depressed, and like its contemporary instruments it may have stops such as an una corda and Silbermann’s damper stop. The sound of the instrument is a combination of a clavichord and a harpsichord and it was used throughout the 18th century.

Video: Tangent Piano   Video: Tangent action

In 1739,  Domenico del Mela of Gagliano had created the Vertical upright pianoforte in Italy. Like the clavicytherium, the instrument was a pianoforte, with the soundboard going above the keyboard. In 1745, Christian Ernst Friederici created the Pyramid piano (Pyramidenflügel) in Germany, also an upright piano with the soundboard above the keyboard. The shape of the instrument was like a pyramid , with the strings running diagonally upwards. Friederici basically copied the design of his contemporary grand piano into a vertical form. It was a simple version of Cristofori’s 1720 piano, however it lacked the feature of repetition. The instrument had doors at the front that would open exposing the strings. By 1840 both upright and pyramid pianos stopped being produced.

Video: Pyramidenflügel

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Johannes Zumpe (1726-1790) was the lead maker of the English square piano (Tafelklavier) from 1766 to c.1790 (whether he was actually the first creator of a square piano is unknown). The square piano was a small rectangular piano with a range of about 5 octaves. At the beginning it sounded like a harpsichord. Eventually its sound became more ‘pianistic’.

The action of the square piano is called the English single. It was a very single action, without an escapement, with a leather rod under the hammer which bounced into contact with the string. From 1768 onwards Zumpe’s square pianos had three hand-operated stops in the compartment at the left of the keyboard. One was to lift the treble dampers, the second for the bass dampers and the third pressed a buff leather against the strings. When used with the other stops it produced a gut-strung harp tone. Because the single action was limited in the obtainment of dynamics, the double action was invented by John Geib in 1786. His action featured an intermediate lever which increased the speed of the hammer, as well as an escapement so the hammer would fall away from the string whilst the key was pressed. By the mids of the 19th century square pianos exceeded 6 octaves.    Video: Square Piano 1789 by Johannes Bätz.

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Johann Andreas Silbermann (1712-1783), Gottfried Silbermann’s older brother, was the author of the  old German action the Prellmechanik, around 1769, which later became the Viennese action. The Prellmechanik also derived from the clavichord, however instead of having a tangent, there was a moving hammer bound with the key lever. When the key was pressed the key lever lifted up while the hammer’s tail was blocked, flipping the hammerhead (which pointed towards the keyboard) to hit the string.

Johann Andreas Stein (1728-1792), c.1781 improved it and simplified Cristofori’s action (adding a back check) into the Prellmechanik with escapement, the hammer could escape after the note was played leaving the strings to vibrate, permitting a louder sound and a quicker response. Stein instead of using pedals or hand-stops, included a knee-operated lever in replacement of Silbermann’s damper stop.

The oldest surviving grand pianoforte with pedals is a pianoforte made in 1772 by Americus Backers, and was owned by the first Duke of Wellington. Backers is therefore considered to be the first one to have used pedals instead of hand stops and knee levers. The particular piano is also regarded as the first English grand piano. The piano has an una corda and damper lift which are activated by pedals. Both pedals are incorporated to the instruments front legs. When the left pedal, una corda, is activated, the whole keyboard slides to the right, causing the hammers to strike only one string, when the right pedal is activated, a mechanism lifts all the dampers away from the strings.   Video: Americus Backers 1772 piano

After Backers invention, Adam Beyer incorporated, from 1775, a damper pedal in his square pianos as well as a nag’s head swell pedal in 1777, like the one used in the harpsichord from 1754. The pedal caused the right side of the lid to open.



From 1783, Broadwood started using the una corda and the sustaining pedal. In France, Érard was the first to add several pedals to his pianos. The piano shown is from 1793 and it has a buff (harp), a moderator (celeste), a sustain for the bass notes, a sustain for the treble notes and a swell.


Anton Walter 1782 mozart

Mozart’s piano by Anton Walter, c.1782, at Salzburg Museum

The Austrian pianos replaced the hand stops with knee levers in the 18th century, until the knee levers were replaced by pedals in the early 19th century.  Anton Walter (1752-1826), the most popular instrument maker of Viennese pianos, altered Stein’s model and contributed further to the sound of the instrument. For instance, Mozart’s piano (c.1782) included three hand stops and two knee levers that worked as the two damper stops. (the specific instrument was refurbished and modified internally for Constanze, Mozart’s widow, c.1808, so whether that was the original mechanism its debatable).

Video: Anton Walter Piano


The piano had a long development. Many instrument makers experimented with different actions and mechanisms for the piano. It is impossible though to refer to all of them, thus I have briefly discussed the instruments that had a dominant role in the history. During the 18th century the Viennese pianos were better in articulation, fast scales and passage work whereas as the French and English piano were more expressive instruments.


Coming next: The modern piano  ♪ ♫

The Harpsichord family

In the previous post I have discussed the Clavichord. Both the harpsichord and the clavichord coexisted at the same time. Despite that, not only they look different but they also have different mechanisms. The harpsichord existed in quite a few different forms. The whole harpsichord family seems to derive from the psaltery, since like the psaltery it produces sound by plucking the string instead of striking, as in the clavichord or a piano.

Henri arnaut manuscript

Clavicymbalum manuscript by Henri Arnaut de Zwolle, 1440

Starting with the Clavicymbalum, it is considered to be the ancestor of the harpsichord and one, if not the only one, of the earliest reference to a harpsichord. The earliest reference is by Johannes de Muris in 1323 in his Musica speculative where he describes a monochord instrument in triangular shape with a curved side, having two octaves. It seems that it was a small instrument and worked like a psaltery. Instead of plucking the strings with the fingers, the strings were plucked by keys. The earliest sculpture dates from 1425 from an altar piece from Minden cathedral in Germany, where a small keyboard is played by an angel. The best source with detailed iconography is by Henri Arnaut de Zwolle from 1440. Arnaut wrote that the instrument could have been single or double strung and the strings could have been brass or iron, which shows that the sound of the instrument was not really established.

Video: Henri Arnaut replica Clavicymbalum

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The Harpsichord is assumed to date from 1397 from Padua, from a record regarding the invention of the clavicymbalumIn comparison to its contemporary keyboard instruments, it is bigger in size and different in shape, looking more like our contemporary modern grand piano.

The strings of the harpsichord are plucked. When the key is pressed, the jack is raised (which is a tongue with a small guitar pick called a plectrum). When its depressed, the jack returns back to its position, and the string is muted by a felt found on the jack. The following video shows how it works; Video: Harpsichord Action.  The sound of the harpsichord is more metallic and it cannot be used expressively like the clavichord. The volume cannot be manipulated, since the loudness of the sound decreases after the note is played. In order to provide a different timbre, they produced stops to vary the sound.

Unlike the fretted clavichord, where two or three notes are played on the same string, a key/a note on a harpsichord can have more than one string. When there are multiple strings on a note, the additional ones are called choirs. This is in order to manipulate the volume and the tone of the instrument. Therefore, the different choirs may sound differently. Through the stops of the harpsichord different choirs could be chosen. This means that they also have their own jacks. The different choirs act as a disposition.  The concert pitch of the instrument is at 8 foot pitch, which is the standard tuning at 440 Hz; the A above middle C in 8-foot pitch is at 440 Hz.

The Flanders harpsichord by Hans Ruckers and his descendants used longer strings, having great tension, with two sets; one at 8 foot and one at 4 foot (one octave higher). There were even German harpsichords that included a 16 foot stop, an octave below the 8 foot choirs. The Flemish harpsichord introduced the two-manual harpsichord to enable easy transposition at the fourth interval. They also had a more sustaining tone than the Italian harpsichords. The early Italian harpsichords were single-manual instruments and lighter in construction. There was also little string tension, thus the sound, although pleasing, was unremarkable therefore they were mostly used for accompanying singers and other instruments and not as a solo instrument.

At the end of the 16th century, couplers were added to the harpsichord, so one keyboard could play both strings for a fuller and richer sound. Thus the additional keyboard was now used for contrasting dynamics. By the 18th century, the Flemish harpsichord was developed further in France, and it was extended from four to about five octaves. Pedal harpsichords started appearing after the 18th century, and like the pedal clavichord, they were probably used by organists. Additionally, larger harpsichords started appearing at the time which often had three choirs per note. The choirs could be easily chosen by the player in different combinations.  Usually the upper manual was more quiet than the lower in order to create different dynamic contrasts.

Video: Pedal Harpsichord      Video: Harpsichord Coupler

In the UK from 1754, harpsichords with nag’s head swell started appearing by Jacob Kirckman. Through the use of a pedal a section of the lid rose and fell to provide a dynamic range, from muted ppp to open lid sound. From 1769 Burkat Shudi had also developed the venetial swell, which were wooden blades, like Venetian blinds. The harpsichordist controlled the volume through the swell pedal by opening and closing the wooden blades.

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Clavicytherium at the RCM, London.


The oldest string keyboard surviving, related to the harpsichord, is a Clavicytherium; it is held at the instrument collection of the Royal College of Music in London. The instrument is not signed nor dated. Nevertheless, documents of one of the internal joints were dated around 1470-80, and they refer to a citizen of the city Ulm in Germany. Hence, the clavicytherium was probably made in Germany. It is basically an upright harpsichord, and its soundboard it’s vertical instead of horizontal. In this way, the player hears the sound directly. Nonetheless, because the jacks must move horizontally, its action, for returning the jack to its position, is more complex and because of that it has a heavier touch.

Video: Clavicytherium


A different kind of harpsichord is the Spinet. It has the same mechanism,  however it is more triangular, with a concavely bent side on the right, which curves away from the player. The main difference is that the angle of the strings, is about 30 degrees to the right of the keyboard, whereas in a harpsichord they are at 90 degrees angle to the keyboard. The strings are also in pairs, having a gap of at least 4 millimetres and the widest 10.  The jacks are located in the wider gap, in the opposite direction plucking the strings on either side of the gap. Therefore, the spinet has only a single choir of strings, at eight-foot pitch. Because of the angle, the tone is also slightly different; the sound is weaker since it is impossible to pluck as close to the nut. Because of that the spinet was used domestically.  Video: Spinet and action

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Bartolomeo Cristofori (1655-1731), the inventor of the piano, had invented in the late 17th century two types of spinets intended for the Medici family of Florence, for the Prince Ferdinando. He firstly invented the oval spinet and the spinettone, also called spinettone da teatro and spinetta traversa (transverse spinet). The aim of Cristofori was to fulfil the Prince’s wish, who needed an instrument with multiple choirs for more volume in order to fit in the orchestra. Cristofori achieved combining  two 8 foot registers with long bass strings (like in a harpsichord) in a spinet.

Oval spinet split keys

The oval spinet has the strings placed parallel to the keyboard, like in a virginal. The instrument has an oval shape because of the way the strings are placed, which are in an alternating pattern. The lowest C is located in the middle, C# is found behind C, D is found in front of C etc. Since the instrument is a harpsichord, the strings are also plucked by plectra. The oval spinet has two choirs of strings both at 8 foot with different timbres; thus when each is used separately the tone is different. When both strings are played simultaneously the sound is louder. The first oval spinet of 1690, has two split keys (the black keys divided); the F# and G#. Whereas the second surviving oval spinet of 1693 has a normal octave and not split keys. The diagram shows the complex arrangement of the lowest keys. By including two split keys, Cristofori completed the octave by adding D and E on the sharp keys, whereas the key of E was instead C.

The spinettone, like the spinet,  had a diagonal shape with jacks plucking the strings in opposite-facing pairs with larger gaps along the strings. In comparison with the spinet, the spinettone was very long, however narrower than a harpsichord. The instrument had was built as an improvement of the oval spinet, having the same mechanism. It had multiple choirs at 8 foot and 4 foot pitch (normal and an octave higher, with each choir having its own jacks). The choirs could have been played simultaneously or individually by sliding the keyboard forward and backward.

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The harpsichord, the spinet and the virginal were the same kind of instruments in different forms. The Virginal looks like a clavichord and sounds like a harpsichord. It is basically a small harpsichord in a rectangular shape. Unlike the harpsichord,  it has 32 single choir of metal strings, one string per note, which are parallel to the keyboard. Each string is longer than its neighbour, with the bass strings at the front, as a result a triangle is formed inside the case. Because there is only one string per note, this means that the virginal is not as loud like the harpsichord, however it has more volume than the clavichord. Thus, they were popular as domestic instruments and they have been in use since at least 1460.

There are a few variations of virginals. Flemish virginals have the keyboard either to the right or to the left of the case. When it is to the right the strings are plucked nearer the centre and they produce a resonant, rich sound. These virginals are called muselar.  The muselar has 4 octaves range, and because it plucks the string near the centre, it makes it difficult for repeating notes since the vibrating string interfers with the plectrum from connecting. Video: Muselar Virginal

When the keyboard is placed to the left, the virginal is called spinett virginal (not to be confused with the spinet). The strings are plucked nearer the end producing a brighter sound. The spinetts are made mostly in Flanders, England and Italy.  Video: Spinett Virginal

The ottavino is a small virginal, tuned an octave higher. The were mostly used in homes in Italy during the 17th and 18th century,  accompanying singing. The Flemish ottavino could have been coupled with the virginal producing a double virginal. The Italian one was a separate instrument. The double virginal was basically a spinett or muselar, with a small ottavino (the child), placed under the soundboard like a drawer, next to the keyboard of the larger instrument (the mother). They could have been coupled together by removing the jack rail of the larger instrument and placing the ottavino over its strings. Thus when its keys of the mother were pressed, the jack activated the strings of both instruments, sounding in octaves and producing a brighter sound. The earliest double virginal known is from 1581 by Hans Rucker, a  Flemish harpsichord builder.

Video: Ottavino               Video: Double Virginal

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In 1555 Nicola Vicentino (1511-1576) described in his L’antica musica ridotta alla moderna prattica an enharmonic keyboards, the archicembalo, a harpsichord with two keyboards that enabled microtonality.  The extra pitches where produced by split keys. The lower keyboard had additional sharps from E to F and from B to C. As a result, there were thirty six keys in the octave and they were divided into thirty one equal dieses.

The only surviving instrument with Vicentino’s 31 octave system is held at the International museum of library of music in Bologna, Italy. It was made by Vito Trasuntino of Venice (1526 – after 1606). It bares the signed name “Clavemusicum Omnitonum Modulis Diatonicis Cromaticis et Enarmonicis”, meaning it was intended to play diatonically, chromatically and enharmonically.   Video: Archicembalo

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Another variation of a keyboard instrument from the 16th century was the Claviorganum, a combination of organ and a keyboard instrument, usually a harpsichord.  The instrument was not common, it was quite expensive and it was mostly found in aristocratic families. It also came in different shapes, such as harpsichord-shaped with a chamber organ underneath, with one or two manual harpsichords, or as a clavichord with pipes underneath. The claviorganum is described by Michael Praetorius in his Syntagma Musicum, 1614:

“…a clavicymbal, or some other symphony, in which a number of pipes is combined with the strings. Externally it looks exactly like a clavicymbal or symphony, apart from the bellows, which are sometimes set at the rear and sometimes placed inside the body”.

Video: Claviorganum

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The harpsichord can have different forms, with different registration and dispositions. The early music written for keyboard instruments was either for the organ or for all the keyed instruments (harpsichord family, clavicord etc). The first music published for solo harpsichord was during the 16th century.  During the Baroque era the harpsichord was a popular instrument for composers. Music written for solo harpsichord included preludes, fugues, fantasias, toccatas, variations and dance suites. The instrument was eventually declined, and replaced by the piano.



Next Post: The Pianoforte until the end of the 18th century   ♪ ♫

The Clavichord

In my post The string instrument: how it all started I have discussed Pythagoras’ monochord not only because it was the beginning of the string instrument but also because the clavichord has evolved from the monochord; they share the same mechanism ideology.

The clavichord was made around 1400 and was popular until 1800.  At the beginning, the clavichord was even referred to as monochord.

There seems to be a confusion regarding the first written reference of the word clavichord. I have read different sources referring to the word clavichord that do not correspond. One reliable source that really puzzled me was that the first record of the word clavichord was in 1404 in Der Minne Regel by Eberhardus Cersne:

“Das Clavichord und Clavizimbel erscheinen auf der Abbildung in Virdungs Büchlein als viereckige Kätschen” (The Clavichord and Clavizimbel appear in the figures in Virdung’s booklet as square boxes).

However, this is completely wrong. Since the writer refers to Sebastian Virdung’s (born around 1465) book Musica getuscht, that was firstly published in 1511. So how could Cersne referred in 1404 to Virdung’s book that was published in 1511?

fretted clavichord

Fretted Clavichord

Nevertheless,  the clavichord is a small wooden box and does not have legs or a stand. Because of its size it has a small sound, therefore it was meant as a private instrument used at home and not as a public instrument. The first clavichord had a range of 3 to 3 ½ diatonic octaves in C. By the middle of the 18th century clavichords had five octaves.

The strings and the soundboard are located horizontally behind the keyboard. The strings are in the left and are attached to pins on one side, over the bridge to tuning pins on the right side. When the keys are pressed, the back part of the key rises and a small brass percussion instrument – a tangent – touches the strings, determines the length of the string and eventually the string starts to vibrate. The string only vibrates from the tangent to the bridge. If played too hard, the string is stretched and sounds louder. This is because the key has a direct mechanical contact with the string through the tangent. Basically, depending on the pressure applied on the key the pitch can be altered in order to produce vibrato, which is called Bebung.

The Bebung is produced by pressing the key up and down with the finger and it only produces pitches above the note. So, the clavichord, depending on the force the keys are pressed, could be used expressively. The player can control the volume, attack and duration. When the key is released, the back of the key returns to its place and touches a woven which is found between the pairs of strings and stops the string from vibrating.

In the video in the following link, the mechanism of the clavichord can be seen, as well as the use of Bebung. Video: Clavichord action, and Bebung

The Clavichord has more keys than strings because each string has a few tangents, unlike the modern piano in which each key has its own string. This clavichord is called fretted clavichord. Most clavichords were double or triple (two or three notes would be played on the same string). And because of that those notes could not be played together (old music though does not require notes to be played simultaneously). In other words, like Pythagoras’ monochord, the strings are divided into specific rations in order to give a specific pitch.

Video: Fretted Clavichord, Bach BWV 846



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The oldest surviving signed clavichord was made in Venice in 1543 by Dominicus Pisaurensis. It has his signature written in ink above the keys DOMINICVS PISAVRENSIS M D XXXXIII. The clavichord is held at the Instrument museum of the University of Leipzig. This harpsichord instead of one curved bridge it has 3 separate bridges instead, which is more common in later North-European and Italian clavichords.

In 1693, Johann Speth in his book Ars Magna Consoni Et Dissoni asks for a clavichord that each key has its own string and not the strings touched by more keys.  After time clavichords would come into larger sizes, and around the 17th century unfretted clavichords would start appearing. The unfretted clavichord means that each key had its own string, thus the instrument is also bigger because there are more strings. Because of that and its bigger soundboard, in comparison to the fretted clavichord, it sounds a bit different. More than one note can be played simultaneously, since now the keys do not share the same string. The first unfretted clavichord was built in 1716 by Johann Michael Heinitz.  Video: Unfretted clavichord

Gerstenberg clavichord pedal, 1766

There were also pedal clavichords, with more than one clavichords added together, in order to be used by organists for practice.

Video: Pedal Gerstenberg Replica Clavichord

In all, the advantage of the clavichord is that it takes less space, it has less tension in the soundboard, there are fewer strings to tune and the most important of all it is that its the most expressive early keyboard.


Next Post: The Harpsichord family! ♪ ♫