Lately, a persistent curiosity has arisen, especially while watching your video tutorials on mechanics and reading some books The History of the Piano by P. Rattalino and What every pianist must know by L. Finizio.
Furthermore, during a visit to a museum here in Milan, some mechanisms from 1750 were on display; I have included the photos below.
That is, is the current mechanism used in grand pianos the same in all its parts as that invented in the time of Bartolomeo Cristofori, or has it undergone evolutions and changes over time? Are there known modifications, and if so, what are they?
Because from what I have read, the invention dates back to 1711, so in 1750 the mechanism was exactly like the original one and therefore established for about 39 years?
I doubt that the mechanics in the photo date back to 1750. It is already a "double escapement". In that era, the repetition lever had not yet appeared. The mechanics were called "spillo" (pin), meaning similar to the simplicity of the upright, to be understood, with an escapement lever that pushed the hammer directly upwards.
The evolutions over time have been numerous. The piano boasts hundreds of patents and modifications to the transmission mechanics. Furthermore, the hammers have increased in mass and weight. Soundboards, over time, have become more "loaded" (greater angle of string thrust on the bridge), strings of larger gauge and not made of iron, but of harmonic steel... in short, everything towards a great and striking attack, to favor clarity and better listening in large halls.
Let us not forget, moreover, that our ear, from the 1700s to today, has undergone a significant audiometric decline. Consider that the clavichord could be easily and softly listened to in a small room of modest dimensions. Today it is barely audible in a small room!!!!! Our ear defends itself. Try going to a disco and listening to the sound of our instrument at home immediately afterward... we will discover some interesting things. Daily noises put our auditory system on the defensive, and we always need greater stimuli. In recent years, manufacturers have taken this into account and have created, for example, hammers that are increasingly impregnated and hot-compressed, etc... Good times, when man could hear the grass growing!!!!!!
D
Dave
Member
Reply 3 by Dave
Posts
70
pianoexpert wrote:
I doubt that the mechanism in the photo dates back to 1750. It is already a "double escapement". In that era, the repetition lever had not yet appeared. The mechanisms were called "spillo" (pin), meaning similar in simplicity to the vertical, to be understood, with an escapement lever that pushed the hammer directly upwards.
The evolutions over time have been numerous. The piano boasts hundreds of patents and modifications to the transmission mechanism. Furthermore, the hammers have increased in mass and weight. Soundboards, over time, have become more "loaded" (greater angle of string thrust on the bridge), strings of larger gauge and not made of iron, but of harmonic steel.....in short, everything towards a great and striking attack, to favor clarity and better listening in large halls.
Let us not forget, moreover, that our ear, from the 1700s to today, has undergone a significant audiometric decline. Consider that the clavichord could be easily and gently listened to in a small room of modest dimensions. Today it is barely audible in a small room!!!!! Our ear defends itself. Try going to a disco and listening to the sound of our instrument at home immediately afterward.....we will discover some interesting things. Daily noises put our auditory system on the defensive, and we always need greater stimuli. In recent years, manufacturers have taken this into account and have created, for example, hammers that are increasingly impregnated and hot-compressed etc....Good times, when man could hear the grass growing!!!!!!
Thank you Mr. Paolo, these historical and cultural aspects fascinate me greatly and I would never have imagined that even our hearing from the 1700s to today, beyond an inevitable musical cultural evolution, has undergone an inevitable decline, indeed reflecting nowadays just walking on the street in large cities; besides atmospheric smog, there is acoustic smog which is perhaps even higher.
Regarding the photo, then they have made a mistake... I will go back and bring it to the attention of the Museum. 😕
Bringing it to the Museum's attention, I believe it is, for now, a bit pretentious. We need to see carefully if the inscription corresponds to the model that has always been there. This is my opinion. Everyone can be wrong. I will write an article (which is already ready) on the evolution of the hammer and the mechanics. Undoubtedly, what I see seems a bit strange to me.
Regarding everyday noises, you are right. The responsibility lies with those two "little bones" in our ear that "move" and protect us from loud peak noises!!!! Otherwise, our eardrum would suffer!!!!! The fact is that the ear tends to protect itself more and more...... rightly so.
About 15 years ago, I participated in an exhibition in Paris that spoke specifically about the future of listening, naturally as a listening attitude. Very interesting. I should also still have a publication. Who knows if I won't be able to address some topics!!!!!
Hi
Paolo
P.S. I am 61 years old, but use the informal 'tu' with me... I don't feel it!!!!!
D
Dave
Member
Reply 5 by Dave
Posts
70
pianoexpert wrote:
Pointing it out to the Museum, I believe, for now, is a bit pretentious. We need to see carefully if the inscription corresponds to the model that has always been there. This is my opinion. Everyone can be wrong. I will write an article (which is actually already ready) on the evolution of the hammer and the action. Undoubtedly, what I see seems a bit strange to me.
Regarding everyday noises, you are right. The responsibility lies with those two "little bones" in our ear that "move" and protect us from loud peak noises!!!! Otherwise, our eardrum would suffer!!!!! The fact is that the ear tends to protect itself more and more...... rightly so.
About 15 years ago, I participated in an exhibition in Paris that spoke specifically about the future of auditioning, naturally as a listening attitude. Very interesting. I should still have a publication. Who knows if I won't be able to address some topics!!!!!
Hi
Paolo
P.S. I am 61 years old, but please use the informal 'tu'... I don't feel that old!!!!!
Thank you Paolo 😕 (Out of politeness, I never allow myself to use the informal 'tu'.)
Anyway, straying a bit from the topic of the discussion I opened, this aspect of acoustics in the musical field is very interesting, also because in musical performance, furthermore, there is a great difference between someone listening as an audience member and someone listening to their own performance.
Paolo, it would be nice if you prepare a video tutorial on the subject soon!
