Thanks so much for your lovely comments and I'm really pleased you enjoyed listening to this! It's so lovely to play these pieces on a period instrument!

@@JonathanDelbridgeMusic I look forward to your next video with anticipation. One figuratively time travels to a world in which a doesn’t always equal 440, equal temperament didn’t exist universally, and the palette of tone colors was akin to water color paintings than currently oil paint applied impasto… Looking forward to a few Fugues…Well Tempered Clavier as almost simultaneously published in serval different locations in 1801, Clementi in England publishes his method, Beethoven’s Sonatas…the perennial favorite Handel….an embarrassment of riches awaits you in your next sojourn into the past. (And the pianoforte methods of that time begin to make sense again….)

@@Renshen1957 Thanks! I'll certainly be uploading a lot more performances on this lovely instrument and hope you'll enjoy listening to them!

Thanks. I love playing this music on an instrument closer to those Mozart would have known!

You're very welcome and I'm glad it's helpful. You can find the full tutorial at patreon.com/JonathanDelbridgeMusic if you wish.

I love the sound of this music on the period instrument and great to have the opportunity to play on this wonderful piano!

Opening of Mozart’s Sonata in A major

@@therealtruetwelfth798 Thanks very much

Thanks. You're right the instruments are very different. I also love hearing Classical period music, such as Mozart, played on an instrument of that time.

Mine is tuned to 392 which is French Baroque pitch.

Yours is at a higher pitch than mine. I think different parts of the keyboard can go out of tune quicker depending on the humidity but I'm no expert!

Thanks!

I enjoy playing both!

Thanks!

Thanks! I'm glad you enjoyed the video and thanks for your tip about the microphone!

I can hear him just fine. When listening to these type of videos it's best to use headphones🎹🎶

Yes, he's written some really lovely music.

Yes, she sounds great and I'm really pleased with how the recording has come out!

Thanks! I'm so pleased you enjoyed this video. It's a great instrument to play!

That’s great! Glad you found it interesting and thanks for listening! 😊

To be honest, I have perfect pitch but do find I get used to the lower pitch pretty quickly.

@@JonathanDelbridgeMusic I have a mate who tunes to 432Hz, being more harmonious with nature they say. The issue for me is, I like to learn songs by ear, and most songs are in 440Hz. I'm afraid my ear might go out of tune if I get use to another pitch making it harder to hear 440Hz. I don't know if that is true or not, just not willing to find out, I don't want to mess with what works.

I can appreciate where you are coming from. @@LibertyWarrior68

That strange. It seems to be working OK when I check it. I'll look into this though.

I'm using a table to read the sheet music from but I can assure you none of the music is being produced by the tablet.

You're right. It's tuned almost a tone lower than modern concert pitch. Partly because keyboard instruments of this time were often tuned lower than 440 but also when it was restored, the restorer worked out what pitch the instrument would be stable at and suggests therefore keeping it at this lower pitch.

You're quite right! It's a lovely instrument for playing music of the classical period and closer to what Mozart, Haydn and others would have experienced. It's fascinating to trace the development of both the piano and piano music moving into the Romantic period with Schubert, Chopin and others.

Thanks!

Thanks and glad you enjoyed listening!

I tend to use Werckmeister III for the square piano but I have tried out other temperaments in the past, including Valotti and Equal Temperament. I think Werckmeister is my preference though.

Thank you so much for your precise answer, dear Jonathan! I kind of have the same preference as you: My piano is tuned according to Werckmeister III 🥰. I play almost exclusively J.S. Bach, and actually I love the temperament of Bach-Lehman. But my local piano tuner is not able to create it, so I stick to Werckmeister III (which he can do and which works fine). For Bach-Lehman the only capable tuner I know would have to come a looong way from Zürich, and in the end it would cost double the price of the local tuner. So Werckmeister III is okay with me. It has a "warm" touch to my ears; I feel that it makes me happy, somehow. Many kind regards from southeastern Switzerland. From A.

Yes, I like the sound of Werckmeister. I use an app on my phone to help with setting the first octave. I've just had a look and Bach-Lehman is one of the options on there. Hope you have a lovely Christmas! @@oneirdaathnaram1376

Which app do you use that has the Bach-Lehman? ​@@JonathanDelbridgeMusic

It's called insTuner and I use it on my iPhone. @@cl9826

This is exactly right! It's so easy to misjudge the dynamic contrasts on a modern grand piano and when playing on a period instrument like this you can really understand what Beethoven and others were writing as the range is so much smaller.

Thanks!

Thanks for your lovely comment!

True. Also, I did read somewhere that it helps to keep the tuning more stable but not sure if that is definitely the case.

Thank you! That's very kind!

Yes, it's a lovely melody!

Exciting stuff! I'm sure you'll really enjoy playing the piano. I'm not a piano tuner and no expert but I'm sure you'll get on absolutely fine with the piano. The main piece of advice I've been given is not to necessarily bring it up to modern concert pitch but find out what tension the piano and strings are designed for and keep it at that pitch.

Will you tune it to Broadwood Best Well Temperament? The temperament was recorded by Dr. Ellis in 1885.

I hadn't heard of this temperament so will research it. Thanks for mentioning it! @@95tupolev

I'm afraid the piano was never designed to be at A440 and the advice from the expert who restored it is to keep at this lower pitch as a higher pitch would put the piano under too much strain bearing in mind it has no iron frame like modern instruments.

Maybe try a lighter tension of strings? Try modifying the piano so that it will take the tension.

Personally I'm happy keeping the piano at this pitch as it is stable there. You could certainly try a lighter tension of strings and that might be something I look into when the piano next needs restringing. @@Aidan-Fingleton

It's possible you'll kill the piano instead. I have one from 1792 that at some point was yanked up to a=440 or thereabouts and left there for decades. The increased tension was enough to crack the veneer on the treble cheek, as well as the soundboard and (worst of all) the bridge. I've inserted enough shims into the bridge that I only have to tune that g (where the crack occurred) about every week.

Yes, I agree. It's much better to keep it at a pitch where the piano is happy. Also, my understanding is that when they were made, they would never have been at 440. @@thomaskendall452

Thanks and glad you enjoyed it. Check it one of my other videos kzbin.info/www/bejne/m3ypZXqAl8ahrZIsi=NjIiwLs-suDWhi2a. It gives quite a lot of information on the difference between these instruments and modern pianos.

Thanks! That's very kind.

Thanks. This is all such useful information. I must admit I don't play as much Byrd keyboard music as I should, but I do love this piece. Its often the case that some of the simpler, shorter pieces are just full of beauty!

Thanks! I do prefer it not taken too fast as I feel you can really bring out the articulation then.

Thanks!

This is all really interesting information and I'll certainly check out the link. At the moment, Lucy Coad who restored my piano has suggested keeping the pitch at A=392. I believe this is know as "French Baroque". She has said that this is a good pitch for the piano and won't put it under too much strain. I'm also finding it stays in tune relatively well at this lower pitch so that's a good sign. It just means it's a bit difficult if I want to play with other instruments. I do think the whole subject of temperament is fascinating and using other temperaments, rather than equal temperament, does give a different colour to the various keys. Thanks again for your comments and I'm pleased you're enjoying listening to this lovely Broadwood instrument. Do let me know if there are any other pieces you'd like me to record!

​@@JonathanDelbridgeMusic I do indeed could think of any number of pieces for you to record. The first composer who comes to mind as appropos for the 1814 Broadwood, would be Muzio Clementi, Beethoven's "Father of the Piano," his early Sonatas through those that still fit within the FF-f'" range, or selections from Gradus ad Parnassum (exercise 51 Suite of 5 pieces Introduction for example), or works that would highlight the lower register of the pianoforte, (please anything other than the Sonatina in C which is overplayed.) Sandra P. Rosenblum (if a tad bit too much piano-centric for my general tastes as to the history (and often wrong) of the harpsichord and fortepiano) Performance Practices in Classic Piano Music is an excellent source of with a quotations and information from a variety of contempory tutors, is an interesting read for this period, if you can locate a copy in the UK to peruse. Alternatively, Prelude(s) and Fugue(s) from WTC Part II. Clementi (who practiced said in his youth, or being John Field's teacher, a work by John Field, and as John Field was taught from the Well Tempered Clavier (a quirk of history, the Second Part was published first;"John Bach"s (J C Bach) subsequently acquired in the ownership of Clementi until his death. Clementi was involved with the publication of Beethoven's piano pieces in London, ergo a work by Beethoven. Teacher Clementi debutted John Field in Paris in , in which Field played the 48 Preludes and Fugues of Bach from memory to great acclaim. Thank you for any work you choose in advance, I have subscribed as I hope other's will follow suit, and likewise request compositions. Keep up the great work. For anyone else who read all the comments as I do: Square Piano, not the concert grand version, and the rise of the middle class had more to do with the fortepianos rise in popularity in England. The fortepianos of Broadwood in the grand form do not become popular among the rich and the aristocratic until after the year 1792, similar to the harpsichords of Shudi & Broadwood with pedals for venetian swells, and machine stops to quickly remove stops were outside of the pocketbooks and pin money of the better off inhabitants of London. In my youth both John Field in a short biography which clouded (poisoned) the minds of young piano students such as myself and W F Bach (from a work of fiction) were portrayed as alcoholics. The bio of John Field depicted John Field as having an abusive father (alla Beethoven's papa, patently false, his father, Robert Field, earned his living by playing the violin in Dublin theaters, and arranged lessons with young John's grandfather (also John Field, an organist) and studies with composer Tommaso Giordani in Dublin. His father alledgedly, paraded his sonaround as a prodigy, choosing a toy when presented to the Czar of Russia (a choice of any object in a room after a performance without coaching from his dad) and instead of a jewel, none of which being factual, (unless I've slipped sideways through a parallel dimension) and as a result becomin an alcoholic genius, dying from alcholism. In the real world, Field met Beethoven after traveling from Paris to Vienna, eventually settled in St. Petersburg, and alledgely was an agent for Clementi's Pianos (made by the former firm knowns as Longman and Broderip) at the age of 20. PS For those interested in what really happened to John Field...(cut, pasted, and/or abbreviated), Field's health began deteriorating by the mid-1820s...1823 his concert appearances started decreasing; by the late 1820s he was suffering from rectal cancer. Field left for London to seek medical attention, arrived in September 1831. Field stayed in England for some time (underwent surgery) and met distinguished figures such as Mendelssohn and Moscheles. In March 1832 his teacher and friend Clementi died, and Field served as pallbearer at his funeral. On Christmas Day 1832 Field was in Paris, performing his 7th Piano Concerto, After a series of concerts in various European cities, Field spent nine months (1834-5) in a Naples hospital. Field briefly stayed with Carl Czerny in Vienna, where he gave three recitals, and then returned to Moscow with his son. Field's his last concert in 1836, and died in Moscow almost a year later, on 23 January 1837, from pneumonia. "According to an eyewitness report, when asked on his deathbed what his religion was, Field replied with a characteristic pun: "I am not a Calvinist, but a Claveciniste (harpsichordist).""

Thanks so much for all these suggestions and information. I do love playing the music of Field and Clementi and will certainly explore more of their repertoire! Hope you have a lovely weekend and thanks again for all your ideas!@@Renshen1957

@@JonathanDelbridgeMusic Thank you for your reply...I will look forward with anticipation for your performances and videos.

It does vary I tend to do it more by ear and listening to when the tuning seems to be going out. For a piano that is over 200 years, it does hold its tuning remarkably well. I reckon on average I probably tune it about every 3 months or so.

Thanks! 😀

Thanks. Glad you enjoyed it. The square piano is much lighter and more delicate than modern instruments.

That's interesting. I'll have a look at Kellner. Thanks for the advice!

Agree, not a fan of Valloti, especially for anyone trying to play with the pianist, irregular temperaments are very difficult to match.