A Word About The Viennese Fortepiano
Photo credit: Craig Tomlinson
For this production of La Clemenza di Tito, the non-orchestra recitatives are accompanied by Maestro Darlington on fortepiano and principal cellist Ariel Barnes. Today's modern piano would not exist without the fortepiano, which in turn would not have existed without the harpsichord. The fortepiano is simply the evolutionary step between the two.
Like a modern piano, the fortepiano creates sound wiht hammers that stroke strings when the corresponding keys are struck. The harpsichord has a similar action, but creates sound wiht arms that pluck the strings rather than strike them. Although the harpsichord produced a unique sound, the plucking action meant it could only be played at one volume. The hammering action of the fortepiano removed this limitataion. The fortepiano also had a larger keyboard than the harpsichord.
Mozart did not specify either a harpsichord or a fortepiano for the recitatives. Both instruments were appropriate and both instruments were available to Mozart. His own undated fortepiano had been purchased from the Viennese builder Anton Walter early in 1780 and was used extensively in his compositions over the next decade until his death in 1791. Being a late opera, La Clemenza di Tito was most likely written with fortepiano in mind.
Mozart's own instruments had a hand lever used to raise the damper rail from the strings, in order to sustain the notes played. Only after his death were pianos fitted with knee levers an dlater with pedals for this purpose.
In this production, a fortepiano based on two of Walter's instruments is being used. Built in West Vancouver in 2004, it has a typical Viennese reverse keyboard with black ebony naturals and white bone accidentals. Viennese paino actions are quick and snappy. The sound is clear and very delicate with a relatively short sustain. The force needed to depress a key lever on a Viennese fortepiano is only about a quarter of what it is on a modern piano and the dip of the key is only about half as much. Thus playing the Viennese fortepiano involves none of th athleticism exercised by modern piano virtuosos but, like harpsichord, it requires an exquisite sensitivity of touch.
~ Craig Tomlinson
*Harpsichord and fortepiano maker Craig Tomlinson's instruments are seen and heard in private residences, music schools, concert halls and at early music festivals around the world. To find out more, click here.
