day, was an important innovator in the evolution of the fortepiano into the piano. It
shipped a piano to Beethoven in Vienna which he evidently treasured.
From the late eighteenth century the fortepiano underwent extensive technological
development and evolved into the modern piano. The older type of instrument ceased to
be made.
In the late nineteenth century the early music pioneer Arnold Dolmetsch built three
fortepianos. This attempted revival of the fortepiano was, however, several decades
ahead of its time and did not lead to widespread adoption of the instrument.
In was only in the latter half of the twentieth century that the fortepiano was effectively
revived as part of the authentic performance movement that began at that time and has
continued to this day. Old fortepianos were restored and new ones were built along the
lines of the old. This revival closely resembled the twentieth century revival of the
harpsichord though occurring somewhat later in time. Among the more prominent
modern builders have been Philip Belt, Paul McNulty and Roger Regier. As with
harpsichords fortepianos are sometimes built from kits purchased from expert makers.
The reintroduction of the fortepiano has permitted performances of the eighteenth century
and early nineteenth century music on the instruments for which it was written, yielding
insights into this music.
A number of modern harpsichordists and pianists have achieved distinction in fortepiano
performance. These include Paul Badura-Skoda, Malcolm Bilson, Jörg Demus, Richard
Fuller, Geoffrey Lancaster, Gustav Leonhardt, Robert Levin, Steven Lubin, Trevor
Pinnock, David Schrader, Andreas Staier, Constantino Mastroprimiano, Melvyn Tan and
Bart van Oort.
Three different opinions of fortepianos follow:
‘Although I am a lover of performances on authentic instruments the fortepiano was one
of the least successful instruments and the most deserving of improvement. I am not
always comfortable with the sound made by many fortepianos and however fine a
performance may be I find it difficult at times to get past the often unpleasant sound.’
(Michael Cookson)
‘A frequent initial reaction to the sound of the fortepiano is that it is less beautiful than
that of a fine modern concert grand piano. I believe that such a reaction will usually be
changed if the player listens to good recordings. The clear sound and relatively short
sustain of the fortepiano tends to favor the special elements of style in the music of
Haydn and Mozart. The sound is different but not inferior.’ (Howland Auchincloss)
‘This reproduction of a 1730 Cristofori – the greatest of all makes and often the most
underrated – by Denzil Wraighi based on one made for Scarlatti’s patron Queen Maria
Barbara of Spain makes a gorgeous sound.’ (Gary Higginson)