Luogo e data di registrazione		Haus der Begegnung, Vienna (Austria) - marzo 1979
	Registrazione: live / studio		studio
	Production		Michel Bernstein
	Recording Supervision		Dr. Thomas Gallia, Pere Casulleras
	Edizione LP		TELEFUNKEN - 6.42425 AP - (1 LP - durata 54' 20") - (p) 1978 - Analogico
	Originale LP		Astrée - AS 40 - (1 LP - durata 54' 20") - (p) 1979 - Analogico
	Prima Edizione CD		Astrée - E 7710 - (1 CD - durata 57' 20") - (c) 1986 - AAD
	Note		Produced by Astrée

An instrument upon which, by means of varying touch, one could play piano and forte as well as dynamicinterim stages,was at the time of its development the expression of stylistic change. In 1709 the Florence instrument maker Cristofori for the tirst time constructed a hammer mechanism; independently of him Gottlieb Schröter of Dresden invented another form in 1717, while inl 731 the Saxonian organbuilder Gottfried Silbermann built two hammer-action instruments or pianofortes. With each of these instruments the tone was produced by a hammer beating the string instead of transverse plucking ofthe string with a crow quill plectrum. But it was not until after the middle of the 18th century that the new instrument began to assert itself, not least of all because of new dynamic ideals which were no longer those of the baroque. At the same time the period, which more or less covered the lifetimes of Mozart and Beethoven, was marked by far-reaching changes in the history of piano construction to a degree not observed with any other instrument within such a brief space of time. The decisive technical point - in addition to especially fashionable accessories such as various extra tone colour registers - was the attachment of the hammer and thus its mode of operation and employment by way of the keys. Two basic lines with intrinsically divergent variations took shape: the fastening of all hammer shanks to one axle in the hammer rest rail, and the individual hanging of each hammer shank in turn to a capsule fitted to a rest rail. In principle the first construction followed Cristofori’s idea and was considerably improved in London by Broadwood; one refers therefore also to the English or the thrust mechanism (according to the action). It has the advantage of giving greater volume, but calls for a heavier touch. The other action - referred to as German, Viennese or impact mechanism - is easier to use and the tone is thus more capable of modulation, but the hammer has less power in the touch and therefore produces a smaller volume. In 1817 Beethoven received as a present from Broadwood an instrument with an English mechanism, but he never played it, and his Hammerklavier Sonata was not intended for this instrument as is often claimed: the instrument does not have the tonal volume required in the work. Haydn, Mozart and Beethoven had adapted themselves to the Viennese mechanism. The most important pioneer of such instruments was the piano and organbuilder Johann Andreas Stein (1728-1792) whose last domicile was Augsburg. His daughter Nannette moved the business to Vienna in 1794 and married into the piano-makers’ family of Streicher. Beethoven was on friendly terms with the family all his life. Through Stein he also became acquainted with the brothers Wenzel and Johann Schanz (also spelt Schantz) who hailed from Bohemia. Wenzel settled down in Vienna in 1780 and following his death (around 1790) Johann (who died in 1828) carried on the business. The Schanz brothers were, besides Anton Walter, the most important piano makers in Vienna until they faced considerable competition from Stein-Streicher. When providing advice to Marianne von Genzinger, Haydn especially praised the Schanz instruments in a letter dated 4th July, 1790: “...for this reason I would like to suggest that Your Highness try one by H. Schanz. His forte pianos have a quite particular lightness and a pleasant action. It is highly necessary for Your Highness to have a good forte piano, and my Sonatas will be all the better for this”. Gerhard Schuhmacher (English translation by Frederick A. Bishop)