Hello. I'm Jonathan Delbridge and I am passionate about sharing my love of music with others. I have over 20 years' experience offering exceptional quality, patient and friendly piano and music theory lessons to pupils of all ages and abilities. Pupils consistently gain excellent results in exams and many have gone on to pursue their own careers in music. I am equally adept at teaching those who simply wish to learn for their own enjoyment!
Through this channel I will share my love of music through performances and piano tutorial videos! For more information, visit my website JonathanDelbridge.com. You can also access all my video tutorials, articles and more at Patreon.com/JonathanDelbridgeMusic.
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Really helpful, thanks for this.
I enjoyed that!
Thanks! It's a lovely organ to play on!
Excellent performance! Enjoyed the clarity and the different timbres in throughout the compass. A window into sonic tapestry of a bygone time. A welcome respite from ears blunted by the modern (and often muddy) modern piano’s homogenized sound.
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!
A different sound world. ❤lovely playing.
Thanks. I love playing this music on an instrument closer to those Mozart would have known!
I am going to watch this video
Great ❤ job I love it
Good
Thank you making this video this is helping me rn
You're very welcome and I'm glad it's helpful. You can find the full tutorial at patreon.com/JonathanDelbridgeMusic if you wish.
The older piano is so much nicer! I don’t like period music on the modern piano - it sounds wrong!
I love the sound of this music on the period instrument and great to have the opportunity to play on this wonderful piano!
I'm new to classical piano. What is the piece being played in the demonstration? Sorry if you named it and I missed it. Thanks
Opening of Mozart’s Sonata in A major
@@therealtruetwelfth798 Thanks very much
Interesting choices
Lovely. ❤
SONO DUE SUONI DIFFERENTI, RESI DA DUE MECCANICHE L' UNA DIVERSA DALL' ALTRA, CON UNA PERCUSSIONE ORIGINALE CIASUNA. BELLI ENTRAMBI, ANCHE SE PREFERISCO I SUONI DEI COMPOSITORI (IN QUESTO CASO MOZART) ESEGUITI DAGLI STRUMENTI PIU' VICINI ALLA LORO EPOCA, COME IN QUESTO CASO AL PIANOFORTE DA TAVOLO!!!
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.
This square piano might be tuned to 388 hertz or 384 hertz
Mine is tuned to 392 which is French Baroque pitch.
My piano is a bit ovrer 415 hertz a4 sounds like 417 hertz but the low notes tend to sound more in tune than higher notes nut we get are apinet piano tuning
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!
Lovely performance 👏
Thanks!
Happy to stick to the modern grand.
I enjoy playing both!
Lovely!
Thanks!
Wonderful piano. Please use a lapel mic in future videos. You can not be heard in this one.
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🎹🎶
Beautiful, thank you, Jonathan. I recall Alec Rowley from quite a few years back.
Yes, he's written some really lovely music.
Lovely voice Molly
Yes, she sounds great and I'm really pleased with how the recording has come out!
This is fantastic! Thank you! I have always have a look in the church when we are on holiday down near Mullion. Always wanted to hear that organ, it looks so grand in the position it's in.
Thanks! I'm so pleased you enjoyed this video. It's a great instrument to play!
Thank you for this interesting explanation. I have read about the earlier pianos but have never hesrd one. Very interesting!!
That’s great! Glad you found it interesting and thanks for listening! 😊
My ear is so use to 440Hz, it will be hard for me to play a lower pitch.
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
I can barely hear your voice.
That strange. It seems to be working OK when I check it. I'll look into this though.
Is that a tablet? Oh, no. Forget it. If any part of the performance was aided by an electronic device then it's synthesized music.
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.
It sounds a whole-step low.
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.
Very interesting! The old square piano is not without its charms, but the technology obviously improved. Schubert and Chopin, Rachmaninov etc, would have a lot missing if played on it.
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.
i need one
interesting comparison
Thanks!
I love this, thank you.
Thanks and glad you enjoyed listening!
I would be heavily interested in what temperament precisely you were using on the square piano (05:00). Was it a custom made temperament or perhaps some Werckmeister or Kirnberger, or even meantone?
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
The point about the range of dynamics is crucial. Beethoven is known for his sfz and ff markings and it´s worth remembering that, on his piano, an sfz would NOT be the crashing fortissimo we get from a modern grand.
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.
Positively beautiful.
Thanks!
❤❤ you are the best
Thanks for your lovely comment!
One thing I've always liked about these Broadwood squares is that the wrestplank is at the back and on the left side. It makes it easier for this left-hander to wield the tuning wrench accurately!
True. Also, I did read somewhere that it helps to keep the tuning more stable but not sure if that is definitely the case.
Beautiful playing
Thank you! That's very kind!
Great piece to whistle (or sing) on an autumn stroll
Yes, it's a lovely melody!
I have just paid for an 1818 Broadwood square number 22028. I hope to get it next weekend and am very excited! I'm a piano tuner but this is my first foray into early instruments and I'm sure I have a lot of learning ahead! Thanks for your video, very interesting.
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
Can I have this piano. I will make sure it's tuned to at least A440 no matter what. Even if it kills me.
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
Lovely! What gives square piano's their slightly harder tone - is it thinner / different felt on the hammers to modern instruments? My daughter describes it as a cross between a piano and a harpsichord and that what I'm asking - why, when it's basically the same technology of a hammer and a string?
Thanks and glad you enjoyed it. Check it one of my other videos kzread.info/dash/bejne/l396lqmDksTUp5M.htmlsi=NjIiwLs-suDWhi2a. It gives quite a lot of information on the difference between these instruments and modern pianos.
Exquisite!
Thanks! That's very kind.
The Earl of Salisbury Pavan William Byrd for which an actual date can be suggested. Robert Cecil was made Earl in 1605, and died on May 24, 1612, just months before the compilation of Parthenia. Timothy Dickey wrote on the historical coincidence, and the solemn character of the Pavan, which suggesta a memorial composition for Cecil. "The Pavan for the Earl of Salisbury contains many musical singularities: it is the only such piece Byrd wrote with only two strains (instead of the usual three), it is the only one for which Byrd did not write ornamentations for the repeats, and it is the only late Pavan in the more clipped eight-bar phrases." The US music publisher G. Schirmer in 1904 published Early Keyboard Music, edited by Louis Oesterle (which included 2 sonatas of D. Scarlatti edited by Hans von Bülow). Volume 1 Contained The Earl of Salisbury Pavan. Circa 1972, Denis Agay, included the work in his Baroque Period Volume of his Classical Music Piano Anthology. The same volume contained a d minor Fantasia of Johann Pachelbel, in an episode in the relative major is the first half of the Fugue Subject for J S Bach's Toccata and Fugue in d minor, BWV 565. At this time I was sight reading pieces, I nearly fell of the Piano bench when I played this. J. Pachelbel was J S Bach's older brother's organ teacher, Godfather to Bach's older sister, and at the older brother's wedding among the invited guests, and good friend of J S Bach's father, high probablility that Bach met the master then. Pachelbel left for another city, purchased a home from the widow of J. A. Bach's cousin. J. Pachelbel first wife and children died of the bubonic plague. He subsequently remarried. Of his two musician sons, the younger, Theodore Pachelbel (he was 5 years younger than J S Bach, and had undoubtedly met) emmigrated to the English colonies in the Americas in 1733 first to Boston, then called Newport, Rhode Island to install an organ (and be organist for two years), then to New York, and finally Charleston (South Carolina) to be organist, and have one of the first clavichords in North America.
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!
The Tempo is perfect for Janissary music, excellent performance.
Thanks! I do prefer it not taken too fast as I feel you can really bring out the articulation then.
Great sound and great playing!
Thanks!
Hello Johnathan Delbridge, thank you for your reply and kind words. Some of the old harpsichords (and clavichords) were pitched as low as a=398. Strings were pitched at a=405 1762 in Hamburg. Of course there's evidence that even in the larger cities of the 18th and 19th century, pitch could vary throughout the city. My recommendation, find the pitch the 1814 stays in tune the longest. I found the wood will tell you the best place. As to pitch, my first & last (and regrettedly departed from "distortion," string tension) single manual Italian harpsichord of questionable kit origin (1970's vintage with historical dimensions, and unhistorical materials the case was spot on the dimension, but made from Philippine Luan Mahogoney plywood!, except the bottom of pine (plywood) and the solid spruce soundboard), had a mind of its own as to pitch. I lowered as low as possible and it went out of tune. I raised the pitch (but not a=440, wouldn't dare risk it) and it went out of tune, nor did it appreciate a=415 (semitone lower than concert pitch). It actually preferred a whole lower tone than antique piano (English upright) which was one step below a=440. I found that the majority of the notes stayed in tune, and would set the temperament (not equal temperament per say, I couldn't afford an electronic tuner, I just set the first fifth (didn't know that an octave lower would have made the beats easier to hear) from the "a" on the adjacent piano." With all the debates, historical quotes, and revelations as to temperament, and although I respect the arguments, I've either used Werkmeister III (J S Bach had a copy in his library) and C P E Bach's quote from the Versuch of tuning, Introduction to Part One 14. paragraph, ..."must be tempered as follows: In tuning the circle of fifths and fourths...(emphasis)...take away from most of the fifths a barely noticeable amount of their absolute purity..." Although many an author has fallen into the trap of confirmation bias, ("Aha, J S Bach used ET..."), one cannot escape the fact the word "Most", and not "All" was printed and published. QED a "well-tempered" or ciruclating, or whatever the current buzzword, is. As to Vallotti, as I so frequently type, "and now for a bit of heresy..." Although the four volumes written by Vallotti, and Tartini's praisel, Vallotti, outside of his immediate circle and environment, is an ahistorical temperament, QED, a modern (20th century) temperament. Only the first volume (book) was published which refers to the temperament, the details of how to set the temperament, wasn't available until circa 1950 when the original (first published in 1779), and the final members of the volumes were finally published. And what parades as Vallotti, is a 20th century variant is "shifted" version of Young's second temperament. Ergo, why not use either the actual Young I or Young II which would be historically correct potentionally, or was it. Samuel Wesley was an adamant opponent to Equal Temperament (or what was called this), in his writings refers to the "Wolf" which is only found in mean tone. According to the author of this link (saves typing), Equal Temperament did not become universal in the UK until 1869. You might find this of interest...www.colinpykett.org.uk/samuel-sebastian-wesley-and-keyboard-temperaments-in-victorian-britain.htm Other than Dr. Charles Burney and other J S Bach affionados (Muzio Clementi who studied from his early teens to age 21 the Well Tempered Clavier and Scarlatti Sonatas in England) how frequently were works in distant keys played, written, performed? Well, whichever temperament or temperaments become decided upon you are truly favored and blessed to have access to such a wonderful instrment. ("Shudders at the thought of earlier in life performing Mozart on a Steinway Grand, keydip halfway to China, keyfall downweight in the bass 70 gram-55 gram in the treble, crossstrung tonal opacity in the bass, and homogenized tone except in the very extreme registers.) In my my youth I had more than a few opportunities to play mid-19the century square pianos, even with the large-heavier hammers, the tone was exquisite.
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.
My Broadwood 1816 will be tuned in 415 as well. How often does your Broadwood need a tuning?
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.
Beautifully played and explained. Thank you
Thanks! 😀
Lovely! How heavy is this fortepiano? and how much did you pay for it?
Thanks. Glad you enjoyed it. The square piano is much lighter and more delicate than modern instruments.