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Thesis Draft Keyboard Instruments: “Their Evolution, Their Role in Chamber Music, and Their Impact on Society” An Honors Program Thesis by Ashley L. Akl Spring 2018 LIU Post Music Department !2 TABLE OF CONTENTS Preface………………………………………………………………………………………….3 Chapter I: Types of Keyboard Instruments………………………………………….……… 5 The Organ…….……………………………………………………………………………….. 6 Organ Builders and CulturalPreferences.…………………..…………………………………10 Stringed Keyboard Instruments……………………………………………………………… 12 The Clavicytherium…………………………………………………………………….……. 18 The Harpsichord………………………………………………………………………..…… 20 Harpsichord Builders: The Ruckers Family…………………………………………………. 24 Other Harpsichord Builders…………………………………………………………………. 28 The Virginal and Spinet……………………………………………………………………….31 The Piano Forte……………………………………………………………………………….35 Chapter II: Solo Music For Early Keyboard Instruments…………………………………..44 Organ Music……………………………………………………….…………………………..44 The Prelude…………………………………….…………………………………………….. 48 Organ Composers of the Sixteenth Century…….……………………………………………. 49 Dance Music.………………………….……………………………………………………… 51 The Age of the “Colorist School”….…….…………………………………………………….51 The Clavier and the Rise of Secularism….……………………………………………………53 Johann Sebastian Bach……………….………………………………………………………. 55 George Frederick Handel…………….………………………………………………………. 58 The Sons of Bach…………………….………………………………………………………. 60 Chapter III: Solo Music for Later Keyboard Instruments……………………………….. 66 The Virginal and Spinet………………………………………………………………………..66 The Classical Era………………………………………………………………………………69 Franz Joseph Haydn……………………………………………………………………………70 Wolfgang Amadeus Mozart……………………………………………………………………72 Ludwig van Beethoven……………………………………………………………………….. 75 Early Beethoven………….…………………………………………………………………… 76 The Middle Years of Beethoven….…………………………………………………………….77 Late Beethoven……………………………………………………………………………….. 78 The Romantic Composers: Chopin……….……………………………………………………80 Franz Liszt……………………………………………………………………………………. 81 Twentieth Century Music and Composers……………………………………………………. 83 Conclusion……………………………………………………………………………………. 86 PREFACE Keyboard instruments have held a vital and collaborative position throughout their early creation, and have greatly contributed to the impact of music throughout the courses of both European and American history. By discussing the roles of the earliest keyboard instruments in classical music, to the present-day keyboard instruments, each instrument’s impact on society and evolution through the ages will be examined by way of in-depth analysis. The instruments to be discussed through the course of this work include the following: Portative Organ, Regal, Organ, Clavichord, Clavicytherium, Harpsichord, Spinet, Virginal, Piano-Forte, and Modern Piano. In addition, each instrument’s vital position in the profession of chamber music journeying from the Medieval Period to the current century, will be discussed. Therefore, the research supporting both the position and influence of each instrument listed above has been validated and derived from a collection of historical books and original keyboard compositions, as well as documentation pertaining to historical, first-hand accounts and eye-witness records. Throughout the ages, people all over the world have taken an interest in keyboard instruments. Originally starting from a simple-stringed design, the keyboard concept was modified and built-upon by various manufacturers of the ages. Beginning with the portative organ in the eleventh century, the keyboard concept was not nearly as developed as the modern- day piano. As a matter of fact, it was not until 1709 that the first “modern-day” piano was born. Since there are various predecessors to the modern piano, records can conclude that there are shared characteristics between the instruments; however, aside from the fact that the keyboard concepts were in some way or another “related,” their mechanics differed pertaining to how their sound was produced. Keyboard instruments can be classified into four different types of groups: organs, clavichords, harpsichords, and piano. Each different classification of keyboard instruments uses strings to produce sound with the exception of the organ group. Organ instruments produced sound through the use of vibrating pipes; therefore, among organ instruments, the tone quality had the ability to vary considerably. The legacy of keyboard instruments have inspired composers throughout the ages to create historical manuscripts which, if performed properly, can unlock the secrets to the past. By exploring various elements of keyboard instruments, historical keyboard contexts, and keyboard chamber repertoire, a summation of the development and evolution of keyboard instruments will be concluded. To the next generation of keyboard players, A.L.A. !4 CHAPTER I: TYPES OF KEYBOARD INSTRUMENTS Beginning in the eleventh century, the first significant keyboard instrument known as the portative organ was introduced into early society. The portative organ is considered a primitive keyboard due to the fact that it was invented as a result of Ctesibus’s hydraulic organ in ancient Rome. The ancient hydraulic instrument is one of the first-known keyboard instruments to have ever been invented. Little is known concerning the hydraulic’s origin; however, documentation claims that the Roman keyboard was operated by a series of keys, and was perfected by Ctesibus, a Greek inventor and mathematician from Egypt, in the second century B.C. The instrument is depicted on the back of Roman coins, and is the only true source of evidence to support the ancient invention. Since the instrument’s discovery, assumptions have been made pertaining to its operational structure. The ancient hydraulic instrument came to be known as the hydraulicon, and was conceived to be a type of primitive organ (see figure 1-1). With the invention of the hurdy-gurdy (which was operated with a crank mechanism) in the early eleventh century, the concept of music creation using both strings and keys was introduced. This early, new (Figure 1-1) Ctesibus’s Hydraulicon Kirby, F. E. A Short History of Keyboard Music. New York: The Free Press. 1966. Print. Page 6. innovation gave rise to the small portative organ which was also known as the regal. The !5 small instrument was operated by the use of narrow keys, and was used throughout the remainder of the eleventh and twelfth centuries. THE ORGAN: Artwork discoveries dating back to the eleventh and twelfth centuries reveal evidence to support the use of early keyboard instruments. Towards the end of the fourteenth century, paintings by the Renaissance artist Fra Angelico were uncovered. The written description of the portative organ fits the same visual description as the keyboard instrument illustrated in Angelico’s paintings. The paintings portray the instrument as having a keyboard with supplemental keys to create whole steps and half steps. This evidence supports the early implication of the musical cadence. The production of sound using finger-stops and hand-stops aided in the operation of the early instrument. Strings were not introduced until the invention of the spinet later in the fifteenth century. The exact date pertaining to the introduction of the organ into European society is unknown; however, clues and supporting evidence have been found throughout European documentation dating back to as early as the sixth century. Poems and other literary genres reference the organ’s early presence in Europe during the seventh and eighth centuries. An early conception of the organ can physically be viewed on the obelisk of the Emperor Theodosius in Constantinople, dating back to the fourth century. The organ depicted on the back of the obelisk, portrays an instrument with eight equal pipes being operated by two men. This concept could very possibly reference the early Byzantine pneumatic organ. The Byzantine pneumatic organs possessed the potential to be built in very large sizes. Saint Jerome, a priest and theologian who is remembered for his translation of the Latin Vulgate Bible, lived near Dalmatia, gave a first !6 hand account of an organ that was present in Jerusalem. Jerome claimed that the instrument could be heard on the Mount of Olives over a mile away. The instrument was said to have “twelve brazen pipes” and “a grand sound like thunder” (Kirby 7). From the brief description, early organs (such as the one depicted on the obelisk) were constructed to be operated by two organists. Other European organs dating back to the tenth century contained over four-hundred equal pipes which could only be operated in succession by seventy men. It was not until around 1361 A.D. that the first organ called the Halberstadt came into existence. Early organ instruments pertaining to the period differed greatly from those in existence today. The original compass of the organ’s keyboard allowed its players limited access; however, modifications eventually lead to the spanning of over an octave in diameter. The keyboards of early organs included narrow keys, similar to the portative organ. The modal system that was used on sixteenth-century instruments made use of the Greek tetrachordal system; hence, the system used a combination of diatonic notes and enharmonic pitches. Lettering on the individual keys of the portative keyboard allowed for many unique tuning features. At the initial start of the sixteenth-century, new implications pertaining to the navigation of the organ instrument began to take shape. For starters, drone methods came into use, which called for a tuning of
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