Bach's Role In The Pianoforte

Bach also played a noteworthy role in the early developments of the pianoforte. In

1709, Cristofori had demonstrated harpsichords built with hammer mechanisms that were capable of producing piano and forte effects. A few of these instruments even made their way into Germany the following years. Bach however, did not come into physical contact with such instruments until around 1740-a considerable length of time after the earliest pianofortes were being made. Gottfried Silbermann made the instrument that Bach came into contact with, and he was enthusiastic to receive Bach’s acclaim. Bach’s response however, was of initial disappointment: “…he spoke enthusiastically of the instrument’s tone and possibilities, but criticized its heavy touch and

He “…cleverly exploited in passing under the other fingers, and he established the rule that the thumb of the right hand must fall immediately after the two semitones in the ascending scale, and before them in the descending scale.” This was also implemented in the left hand, only vice versa. These ‘rules’ are substantial and continue to be taught globally today, where the piano student passes their thumb under their fingers during scales, arpeggios and widespread repertoire. Bach also believed that the cantabile style was the foundation of playing well, and so overtime he developed a way of releasing notes to have this smooth and well-connected affect. He retracted his fingers inwardly as opposed to the previous established technique of lifting the fingers high. This permitted for a cantabile effect and guaranteed clean rapid passages. It is appropriate to mention that this ‘retracted motion’ is still influencing performers today. A majority of contemporary concert pianists are reverting back to his way of playing as it puts less tension on the hands, and reduces the risk of injury. Bach’s teaching practices and didactic works highly influenced his students and contempories, which overtime began a new standard and generation of