“IT IS NOT HARD to understand how it came that the first successful attempt to construct a keyboard instrument “col piano e forte” should have occurred in Italy. Though not untouched by the rationalism of seventeenth-century thought, the Italians in general could not, like many North Germans, find full musical satisfaction in the segregation of phrases, voices, or sections into rigid, monotonous dynamic levels. For a hundred years before Cristofori, “expression” had been one of the chief concerns of Italian musicians and their hearers.”