- Steinway Model D
- Steinway Model B
- Petrof AP275 + P284
- C. Bechstein Digital Grand
- Steingraeber E-272
- Grotrian Concert Royal
- Blüthner Model 1
- K2 grand piano
- YC5 rock piano
- U4 upright piano
- Classical guitar
- Kremsegg 1: Historical pianos
- Kremsegg 2: Historical pianos
- Harpsichord
- Harp
- Electric pianos
- Hohner Collection
- Vibraphones
- Celeste: Glockenspiel + Celesta + Toy Piano + Kalimba
- Xylo: Bass Marimba + Xylophone
- Steelpans instruments
About the Karsten Collection
Peter Karsten is an instrument collector from Braunschweig, Germany. Over the years, he has collected an impressive number of historical instruments. This collection for Pianoteq includes virtual copies of:
- NY Steinway square piano (1858)
- J. Weimes pianoforte (1808)
- Ph. Schmidt square piano (1780)
- G. Giusti harpsichord (1680)
- J. Salodiensis virginal (1600)
J. Salodiensis virginal (1600)
The virginal is a 3½ octave instrument.
Its small rectangular shape reminds of a clavichord, but its timbre is
similar to a harpsichord due to the strings plucked by jacks. In 1460,
Czech author Paulus Paulirinus wrote: "It is called a virginal because,
like a virgin, it sounds with a gentle and undisturbed voice."
G. Giusti harpsichord (1680)
This 4-octave Italian harpsichord is
characterized by a powerful attack, particularly useful in continuo
playing. The tone is very rich in harmonics. It is able to provide
excellent support even to a large orchestral group.
Ph. Schmidt square piano (1780)
This 5-octave square piano belongs to a
generation of instruments that started to appear in the mid-18th Century
and which immediately became a success due to its charming treble and
its affordable price. It was easy to furnish and when closed it looked
much like a side table. The instrument has the ability to accent and
express, with varieties of loud and soft within a phrase.
J. Weimes pianoforte (1808)
Built in Prague, offering 5½ octaves,
pedals and 3 strings per note, there is no doubt why Beethoven loved to
play and compose on these Viennese type fortepianos, using its
capacities to the limits. These instruments can be heard in recent
recordings of Beethoven’s piano sonatas.
NY Steinway square piano (1858)
This is a celebrated 6½-octave
iron-framed, overstrung square grand from the Steinway factory in New
York. Although mechanically different, it contributed to a number of
advancements that are still in use on modern pianos today. This virtual
copy is evaluated and authorized by Steinway & Sons.
Authorized by Steinway
The virtual copy of the New York Steinway square piano (1858) is evaluated and authorized by Steinway & Sons in New York. Moreover, Peter Karsten himself participated in many steps of the development of all the instruments ― from the initial recordings for the audio analysis until the final stages of the beta tests ― together with a dedicated team of experienced musicians. That way, Modartt ensured that the authenticity of the instruments corresponds to the most demanding requirements, adapted for concert performance and recording.
Innovative tonal qualities
All virtual copies of these instruments are physically modelled which means innovative tone features and extremely small file sizes (megabytes instead of gigabytes). The sound can be modified through advanced physical parameters, and several tuning temperaments can be selected via a selection of presets. An "Original" preset delivers the sound of each instrument in its current state, whereas other presets attempt to reproduce the sound of the instruments when they were brand new.
NY Steinway square piano (1858)
J. Weimes pianoforte (1808)
Ph. Schmidt square piano (1780)
G. Giusti harpsichord (1680)
J. Salodiensis virginal (1600)