钢琴进化史丨三角钢琴的由来

The Origin of the Grand Piano

三角钢琴的由来

By Olivia Groves

The early pianoforte designs favored the wing form, and by the late 1700s, manufacturers were beginning to understand the advantages of the wing form for superior sound quality, volume and engineering. Now the preferred piano style for all concert settings and many homes where superior sound and artistry is desired, the grand piano came to the forefront of piano making in 1776.

早期的钢琴设计多中意翼形结构，在十八世纪后期，制造商开始意识到翼形结构在声音质量，音量及工程学方面的优异表现。如今很多家庭及所有的音乐会需要上乘的音质和艺术表现，因而更青睐这种风格的钢琴。三角钢琴在钢琴制造中的领先地位始于1776年。

The natural, horizontal plane for creating the best piano action and string orientation possible for volume and tone lent itself perfectly for the first forte or flügel (in Germany) piano. Developing a grand action for the first Grand Pianoforte in 1777, Robert Stodard in London, England, set the baseline for future grand pianos.

自然水平的面板能够为音量和音调提供最佳的钢琴工作机制和琴弦布局，这在第一台早期钢琴（forte piano, 德语称为flügel piano）中得到了完美体现。1777年，罗伯物·斯托塔德（Robert Stodard）在英国伦敦为第一台大钢琴做出了大的改进，为未来的大钢琴奠定了基础。

By 1827, several developments and changes had been made by the Germans and Americans. However, in 1780, the Viennese manufacturer Johann Andreas Stein and his daughter, Nanette Stein-Streicher, had improved upon the original Schröter action to create a tone for the grand piano so desirable that Mozart, Beethoven and other composers wrote pieces specifically to be played on their piano. The action combined a forceful, direct strike with a slight wisp across the string that created the most elegant tone that other makers could never achieve.

至1827年，德国人和美国人又进行了一些改进和调整。然而，在1780年，维也纳制造商乔安·安德里亚斯·斯坦（Johann Andreas Stein）和他的女儿娜妮·斯坦·斯特莱彻（Nanette Stein-Streicher）对原始的史略特击弦机进行了改进（Schröter action），使大钢琴获得了极其理想的音调，以至于莫扎特，贝多芬等作曲家专门为以他们的钢琴演奏而谱曲。其击弦机结合强有力的击键和一束细缕，通过琴弦发出了其它制琴商无法企及的优美音调。

By 1808, Sebastian Erard took center stage in the grand piano market by attempting to increase the volume of the Viennese piano action with repetition. His patented action was a huge success. In 1838, Erard had finished his engineering to the piano action and invention of the capo tasto which was a pressure bar near where the strings were fastened to the frame that increased the rigidity of the strings providing a counter pressure to the hammer that therefore improved the tone. This bar is now standard on nearly all grand pianos today.

1808年，塞巴斯帝安·伊拉德尝试通过重复击弦增加维也纳击弦机的音量，进而占据了三角钢琴市场的中心地位。他的专利击弦机获得了巨大的成功。1838年，伊拉德完成了他的击弦机和弦枕的设计和制作，弦枕是位于琴弦端附近的一种压制条，通过与琴槌相对的反向压力，增加琴弦的刚性，以改善音质。这种压条几乎是今天所有大钢琴的标配。

Once the most successful components of the various grand piano designs were established, many manufacturers began patenting their own combinations and changes to construction. In 1859, contributed to this evolution of the grand piano with the introduction of their full iron frame with fan-shaped strings and overstrung scale.

一旦各式三角钢琴设计中最成功的部件确定下来，众多制造商开始为他们自己的改进及组合取得专利权以投入生产。1859年，施坦威（Steinway & Sons）公司通过引入全钢琴架和扇形斜拉琴弦布局为三角钢琴的改进做出了贡献。

Many case improvements followed after the fundamental inside construction had been widely accepted as perfected. In the 1860s, English manufacturers were credited with adding veneer to a wooden frame that was made from power machines as opposed to the previous method of hand-planing the case to the desired thickness. This was more economic and guaranteed a consistency to the case making that ensured quality of sound and desired acoustic properties.

在内部基本设计被广泛接受并认为已经完善之后，外箱设计经历了多改进。十九世纪60年代，英国制造商以机器生产为木制琴架加装了装饰板，而此前的工艺是以手工将琴箱刨平至预期厚度。这样更加经济也保证了琴箱的一体性，确保了声音的质量和期望的声学特性。

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