Beethoven: 3 piano sonatas, op. 2 on Schantz Fortepiano DIGITAL VERSION

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Beethoven: 3 Piano Sonatas, op. 2 on Schantz Fortepiano

Sonata No. 1 in F Minor
(Allegro | Adagio | Minuetto: Allegretto | Prestissimo)

Sonata No. 2 in A Major
(Allegro vivace | Largo appassionato | Scherzo: Allegretto | Rondò: Grazioso)

Sonata No. 3 in C Major
(Allegro con brio | Adagio | Scherzo: Allegro | Allegro assai)

 

ONLY DIGITAL VERSION

 

GIANMARIA BONINO

BONINO GIANMARIA, PIANO

 

Fortepiano (Grand) built by Johann Schantz, Vienna c.1797 signed on oval plate on the front board: Johann Schantz in Wien case veneered in yew with four square tapered legs.
case dimensions: cm 221x97x25
keyboard compass F1-g3,
F1-bb1 bichord, b1-g3 trichord.
continuous bridge of black stained maple.
Three octave span mm 475.
Natural keys ebony covered, fruitwood sharps covered in ivory.
Viennese action with brass Kapseln.
Stops: two knee levers for raising the dampers (Forte), one had stop on front board for the moderator.

The peculiarity of this recording lies in the instrument: an original Fortepiano by Johann Schantz c. 1796.

 

Johann Schantz, or Schanz, was born in Kladrob,  Bohemia, around 1762,  and died in Vienna in 1828.
In the Music Almanach, Jahrbuch der Tonkunst von Wien und Prag, Vienna 1796, J. F. Schönfeld writes that Johann Schanz was the second celebrated master fortepiano maker in Vienna, after Anton Walter, who had been first to introduce that instrument in Vienna, and that he (J. Schanz) had been working for himself after the death of his brother Wenzel in 1790. Schönfeld writes further that the tone of lightSchanz fortepiano’s was not as loud as Walter’s instruments, but very pleasant and clear, and about their touch also being very light and shallow.
Schönfeld adds that Schanz instruments were actually copies of those made by the famous Stein of Augsburg, but we can now observe that, as far as we know, Schantz instruments combine constructive  elements taken from both Stein and Walter fortepiano’s.

 

Also, the recording technique by Eng. Andrea Ricci (Spirit Turin, leader in headphones) deserve some notes.
This technique consists of using a microphone as a microphone resin head, in which 2 microphones have been inserted ear canals and in verifying correct sound performance by listening to the recording again after a few minutes from the performance of the concert by a committee of critical review using a headphone listening system Specially calibrated Spirit Torino.
With the Spirit Binaural Recording system you will be able to obtain a particularly realistic listening experience both with traditional hi-fi systems and with headphones thanks to the fact that the Binaural Head that we use, manages to map the position and distance of sounds in it the way our brain does it. If you listen to this record closing your eyes, afterwards a few minutes it will be as if you were there with us, on the day of concert.

RICCI ANDREA SPIRIT TORINO

 

 

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