Late in the eighteenth century the piano began its rise, partly because of the differences in mechanics. Harpsichords make sound with jacks that pluck strings. Pianos use hammers that strike strings. Pianos are more robust and powerful and have a greater range of musical possibilities. Rise of the instrumental genre led to greater innovations of the keyboard due to greater ranges of dynamics contrast.
Varying the touch in harpsichord playing does not alter the quality or volume of tone; to provide dynamic variety, octave couplers and various stops that change the tone were introduced. Contrast in volume and in tone color is made easier by the addition of a second keyboard, or manual, found on German harpsichords from the late 16th century and on Italian ones from c.1665. The instrument provided the basic support of virtually all the various combinations of instruments as chamber music and orchestral forms developed. In the 19th century, the harpsichord, which required frequent tuning and replacement of quills, was superseded in general use by the piano. Since the mid-20th century, however, the older instrument has had a revival in popularity. Hence, the harpsichord ‘gave the player no possible opportunity to exercise any artistry’.[1]
Limitations on the Harpsichord
From the beginning of the sixteenth onwards the harpsichord performed important roles in both domestic and professional musical life. However, by early eighteenth century new musical needs were arising. The composers were making increased use of lyrical melodies demanding dynamic inflection, and also a public performances to a bigger audiences called for instruments with greater volume. This is to achieve the increase of timbre colour to the music. The harpsichord has the great volume required for public performance or in instrumental ensemble. Still, it was limited in its ability to interpret a melodic line by its lack of facility for gradual dynamic variations within the scale. What was sought was a keyboard instrument, producing substantial sound level while allowing players direct control of volume from one note to the next.
[1] Alfred Dolge. Piano and their makers. New York: Dover Publications. 1972. Pg 38.
