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This article was republished 1719 in a volume of Maffei's work, and then in a German translation (1725) in Johann Mattheson's Critica Musica.
The latter publication was perhaps the triggering event in the spread of the fortepiano to German-speaking countries (see below).
Several were owned by Queen Maria Barbara of Spain, who was the pupil of the composer Domenico Scarlatti.
One of the first private individuals to own a piano was the castrato Farinelli, who inherited one from Maria Barbara on her death.
Sforzando accents tend to stand out more than on the modern piano, as they differ from softer notes in timbre as well as volume, and decay rapidly.
Fortepianos also tend to have quite different tone quality in their different registers – slightly buzzing in the bass, "tinkling" in the high treble, and more rounded (closest to the modern piano) in the mid range.
Cristofori continued to develop the instrument until the 1720s, the time from which the surviving three Cristofori instruments date.
This publication was an isolated phenomenon; James Parakilas conjectures that the publication was meant as an honor for the composer on the part of his royal patrons.
The earlier fortepiano became obsolete and was absent from the musical scene for many decades.
In the 20th century the fortepiano was revived, following the rise of interest in historically informed performance.
The piano was invented by harpsichord maker Bartolomeo Cristofori in Florence around the turn of the 18th century.
The first reliable record of a piano appears in the inventory of the Medici family (who were Cristofori's patrons), dated 1700.