A comment from a friend about my book Towards a new history of the piano (Munich and Salzburg, 2019, isbn 978 387397 270 4) shows that I should have been clearer with regard to the use of the term ‘Pantalon’. ‘Pantalon’ can mean various sorts of piano in the old literature. But using the word ‘Pantalon’ as part of modern vocabulary is confusing, just as wrenching the word ‘fortepiano’ out of its historical context and using it as a word to suggest something other than a piano is confusing. To explain the situation, the programme notes for a concert played on a small historical piano (or a copy of one) could read: ‘Small pianos like these were often called Pantalons in the 18th century because they were partly or entirely inspired by the performances of Pantaleon Hebenstreit on his giant dulcimer, an instrument known from the beginning of the 18th century as a Pantalon’. Such a dulcimer can be seen in illustration 1. Another copy of this etching bears the title ‘A Concert at Christ’s College, Cambridge in June 1767’; the person shown playing the Pantalon is said to be Georg Noëlli, a follower of Hebenstreit.

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一位朋友对我的书的评论：迈向钢琴的新历史

一位朋友对我的《迈向钢琴的新历史》一书的评论（慕尼黑和萨尔茨堡，2019年，ISBN978 387397 270 4）表明我应该更清楚地使用“ Pantalon”一词。“ Pantalon”在古老的文学作品中可能意味着各种各样的钢琴。但是，将“ Pantalon”一词用作现代词汇的一部分是令人困惑的，就像将“ fortepiano”一词脱离其历史背景并将其用作暗示除钢琴之外的其他东西一样令人困惑。为了解释这种情况，在一架历史悠久的小型钢琴（或一台小型钢琴）上演奏的音乐会的节目注释可以写为：“像这样的小型钢琴在18世纪通常被称为Pantalons，因为它们部分或全部受到表演的启发Pantaleon Hebenstreit的巨型扬琴上的音色，该乐器从18世纪初就被称为Pantalon'。这样的扬琴可以在插图1中看到。另一幅蚀刻版画的标题为“ 1767年6月在剑桥大学基督学院举行的音乐会”。据说扮演Pantalon的人是Hebenstreit的追随者GeorgNoëlli。