Radbon Clavier-sammlung bietet eine grosse Vielfalt von historischen Tasteninstrumenten von 1650 bis 1860. Von Frescobaldi Toccaten auf das Italienische Cembalo bis cpe Bach auf das L&B Cembalo oder verschiedene Tafelklaviere und Hammerflügeln aus der Zeit weiter hin zu Mozart, Beethoven, Schumann und letzendlich Brahms auf Weimes, Walter, Schanz, Müller, Bösendorfer und Seuffert und mehr...

 

Die Konzertbereite Hammerflügel und Kielflügeln für Ihre Konzert und Aufnahmeprojekte sind unten gelistet aber nach Bedarf kann einige andere Hammerflügeln aus der Hauptliste der Sammlung innerhalb von 1 bis 10 Monaten (je nach dem aktuellen Zustand) fertig und für Ihre Konzerte zugestellt werden.

Bitte einfach mit mir Kontakt aufnehmen.

 

 

fortepiano-collection@gmx.de

 

Italian harpsichord ca. 1630-50 (probably Venice)

2x 8'

C/E-c'''

Ideal for 17th century solo harpsichord music and ideal for continuo music of 17th and 18th centuries.

 

 

 

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Arnoldi Fortepiano ca. 1770  Rome

Simple Stossmechanik

5 octaves FF-f'''

3 Kneelevers for divided dampers and bassoon

2 hand stops for fortepiano stop and harp

The hammers are basically plain wood without leather

in the style of Tangent pianos, Clavecin Royales or Stein's 1777 vis-avis

 

Ideal for all music written between 1760-1790s most specially Bach sons, Benda, Mozart and Haydn!

 

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Jakob Weimes 1803  Prague

Viennese action

5 octaves FF-g'''

2 Kneelevers for dampers lift and moderator

 

As a rule Viennese grands made in Prague are at least 10 years behind the Viennese pianos in fashion! it means that this piano is made just like a Könnicke (or similar) from 1790. Its hammers are lighter than a 1790 Walter! and look and weight more like Stein!

So it is ideal for Mozart, Haydn, early Beethoven and contemporaries.

 

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Jakob Weimes 1808  Prague

Viennese action

5 and half octaves FF-c''''

3 Kneelevers for dampers lift , moderator and bassoon

 

This piano is more like a Walter 1800 than a 1808 typical Viennese piano. Not only the compass is a bit wider than the other earlier Weimes but also the sound is more oriented on Walter pianos and is no more an ideal piano for Mozart but still for Haydn (late works) and early and middle Beethoven but ideal for all Schubert songs and early sonatas.

 

 

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Mathias Müller ca. 1805  Vienna

Viennese action

6 octaves FF-f''''

3 Kneelevers for dampers lift , moderator and bassoon

 

This piano belonged to an important Viennese composer who was also a friend of Beethoven. It was purchased from the castle of the family in 2014, please read the story on the website!

The sound is much more delicate than any 6 octave piano or even other similar Viennese grand pianos of the time! it is not as loud as the Weimes 5/half octaves but projects as well as louder pianos of its date. 

 

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Daniel Dörr ca.1820 Vienna

Viennese action

6 octaves FF-f''''

5 Pedals for dampers lift, una chorda, Turkish music, Basson and moderator

 

This piano has also 6 octaves but due to the throughout 3 strings and a more massive body (comparing with 6 octave Müller) is a proper instrument for later Beethoven (except for the last sonata) 

Dörr's pianos are very identical to those of Streicher and therefore some frauds used to resell Dörr pianos with fake Streicher name pluques!

 

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Ready soon :

 

Bösendorfer ca.1843 Vienna

Viennese action

6 and half octaves CC-g''''

2 pedals for una chorda and dampers lift

 

An ideal piano for Schumann and friends!

 

Stimmen vor der Probe ''Winterreise Schuberts'' im Februar 2016 in Bremen Sendesaal