Where the heck did you find a freaking Fortepiano Nai??!!
WHERE? HOW?
No guys, I'm not having a seizure, Fortepiano is a real instrument. It's actually the Pianoforte's ancestor. And it's called like that also because the keys have inverted colors.
Beethoven's Moonlight Sonata (or at least, the popular melancholic first movement) is a piece from 1801-1802 that 1) he never called the "Moonlight Sonata, 2) is now usually played at a different time signature than he intended, and 3) is played on the modern grand piano, which is a very different instrument acoustically than the fortepiano he wrote it for.
Yes, this is a bit of pedantic nerd crap. The contemporary recordings of this are basically fine. But if you ARE a pedantic nerd, then you're interested to hear this piece as Beethoven conceived of it, and as it would have sounded at the time, on the early thunky, twangy "fortepiano" Chad-harpsichord-in-a-box everyone would have been using since it was invented in Florence in 1698.
Interestingly enough, by 1802, what we think of as modern pianos were appearing in various iterations, the result of technological advances from the Industrial Revolution being applied to instrument manufacture. Around the time of Beethoven's death in 1827, Paris has become the world leader in producing pianos that are basically equivalent to what you probably think of when you hear that word.
The best way to describe the difference between the sounds is that the fortepiano is a lot more "intimate" - less resonate, sharper, and the noises from the mechanical actions aren't as muffled. Here is Eric Zivian playing it:
youtube
I feel this is a lot less dour and ominous than most modern versions end up. This becomes less an apocalyptic funeral dirge and more a quiet reflection on personal sadness. Which is probably what Beethoven was going for, since he dedicated it to yet another woman he pined for, who rejected him because Beethoven was even too much of a weird mess for the low bar of 1802.
...No we don't need to talk about why I feel a special connection to this.
I tuned the fortepiano about an hour before this was recorded and had already managed to throw a handful of notes out of tune just from practicing this… you can hear on the high F especially that the unison is wayyyy out 😅
Maybe one of these days I should pull a Liszt and intentionally loosen a string or two so that it snaps off and goes flying, just for extra drama… 🤔 (except that replacing a string is a bitch of a process and I don’t want to do that. but I could.)
Concert review, ★★★★★, Isabelle Faust, Anne Katharina Schreiber, Antoine Tamestit, Jean-Guihen Queyras, Alexander Melnikov @ Tonhalle am See, Zurich, 2023-11-03 — Works by Robert Schumann: String Quartet in A minor, op.41/1; Piano Quartet in E♭ major, op.47; Piano Quintet in E♭ major, op.44; Johannes Brahms: II. Andante, un poco adagio from the Piano Quintet in F minor, op.34 (encore)
Dongsok Shin performs the Giga of Sonata number 6 in B flat major by Lodovico Giustini (1685-1743) on the earliest known surviving piano, made by the instrument's inventor, Bartolomeo Cristofori (1655-1731), in Florence, 1720.
OTD in Music History: Historically important virtuoso pianist Moriz Rosenthal (1862 - 1946) is born in what is now Ukraine.
A student of Karol Mikuli (1821 - 1897, Chopin’s pupil and editor) and Franz Liszt (1811 – 1886), as a mature artist Rosenthal became good friends with many of the greatest composers of the latter half of the 29th Century, including Johann Strauss II (1825 – 1899), Johannes Brahms (1833 – 1897), Camille Saint-Saëns (1835 – 1921), Jules Massenet (1842 – 1912), and Isaac Albéniz (1860 – 1909).
Rosenthal's malicious wit was the stuff of legend. After hearing fellow supervirtuoso Vladimir Horowitz (1903 - 1989) blaze through the octave passages of Pyotr Tchaikovsky's (1840 – 1893) First Piano Concerto (1875) as fast as he could at his legendary Viennese debut, he remarked: "He is certainly an Octavian, but not a Caesar." In a similar vein, after hearing Ignacy Jan Paderewski (1860 - 1941) perform for the first time – Paderewski being one of the biggest matinee idols of the day, and a pianist who was always more beloved by the masses (perhaps in part of his movie-star good looks) than he was respected by his colleagues and the critics – Rosenthal remarked: "Yes, he plays well, I suppose… but he's no Paderewski.”
Rosenthal left behind a recorded legacy of around three hours' worth of music, which was put to disc between 1928 and 1942 for a wide array of labels include Columbia, Edison, Ultraphon, EMI, and RCA Victor. All of it is of remarkable quality, and well worth a listen for any serious student of the piano or any listener interested in stylistic practices that were in evidence during the “Golden Age of the Piano.”
PICTURED: A c. 1893 cabinet photo showing the young Rosenthal, which he signed.