Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 2 – The making of stringed keyboard instruments in the 18th century

Abstract

The article is the continuation of the cycle of texts devoted to hammer mechanism instruments from the 18th century, which was initiated in the previous issue of the magazine “Notes Muzyczny”. This instalment presents an overview of the phenomena related to keyboard instrument making in the described period – classification of instruments in terms of terminology, structure and sound (cf. classification of instruments in table 1). A general tendency of the development of keyboard instruments in the 18th century seems to be the search for original construction-related solutions of individual instrument makers, assuming, however, that there was a paramount pursuit of expanding expressive capacities. A greater diversification of sound was an answer to the changing musical language of the galant and Empfindsamkeit styles, which were aimed at touching audiences, referring to their sensitivity and not just their intellect. Subsequent subchapters present a review of the most important inventions of that vivid period. A special emphasis was placed on new forms of instruments, some of which only became part of history as experiments – unfinished projects or singular copies – whereas others functioned in the musical life of the 18th century for a longer time. The described instruments are, respectively: Hebenstreit’s pantalon, French hammer mechanism projects by Jean Marius, tangent pianos, instruments for home use – table pianos and other miniature forms, and also the development of the Vienna-type mechanism as presented by the instrument maker Andreas Stein, and hybrid instruments combining different types of mechanisms in one body.