efore, performing artists could not achievethe degree of musical expression of most other instruments. Theartistic desire for more controlled expression led directly tothe invention of the piano, on which the artist could alter theloudness and tone with the force of his/her fingers (129).The first piano appeared in Italy sometime around 1693,originally named the gravicembolo col piano e forte (“theharpsichord with loud and soft”). An Italian harpsichord-makernamed Bartolomeo Cristofori “replaced harpsichord’s jacks withleather covered hammers, activated by a remarkable mechanicalsystem” (Hollis 51). Where the harpsichord could only make astring produce one sound, the new piano could be played loud orsoft, make dynamic accents, and could produce gradations ofsounds (52). Even though this new invention attracted littleattention at the time (because of the existing popularity of theharpsichord), the piano would captivate the world in the years tocome. Cristofori made only two pianos before he died in 1731, butan article was written about the new invention, and the articlemade it’s way to Germany. There, an organ-builder namedGottfried Silbermann read the article and became fascinated withthe idea of a modified harpsichord (Hollis 54). Additionally,Silbermann had recently seen a performance dedicated to Louis XIVwhich included a piece of music played on a huge dulcimer, whichis played by striking strings with a mallet. One end of themallet was hard, while the other was covered with soft leather. Fascinated and inspired, Silbermann set out to create a piano ofhis own, using leather covered hammers (54).When Silbermann’s first piano was finished in 1736, thegreat composer Johannes Sebastian Bach evaluated it. “Bachadmired the tone, but complained that the action was heavy andthe upper register weak” (Hollis 55). Though slightlydiscouraged, Silbermann introduced his piano to King Fre...
