As early as 1751, Franz Jacob Späth, a builder of clavichords, fortepianos and organs, was producing tangent pianos in Regensburg, Germany, assisted later by his son-in-law and partner, Christoph Friedrich Schmahl.
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Moshack became licensed in 1761. In the same year, he received a royal monopoly to build and repair clavichords, harpsichords, and organs. Between 1759 and 1772, Moshack worked in Copenhagen, building organs and other instruments. Clavichords were purchased by the Royal Danish Theatre, and other instruments by Johan Foltmar at Trinitatis Church.
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Vail, Mark. Vintage Synthesizer. Backbeat Books, 1993 & 2000, - Chapter on electric pianos, harpsichords & clavichords of the 50s & 60s by Barry Carson.
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Disadvantages include a smaller volume, even though many or most unfretted instruments tend to be significantly larger than fretted instruments; and many more strings to keep in tune. Unfretted instruments tend to have a sweeter, less incisive tone due to the greater load on the bridge resulting from the greater number of strings, though the large, late (early 19th century) Swedish clavichords tend to be the loudest of any of the historic clavichords.
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Gottfried Silbermann (January 14, 1683 – August 4, 1753) was a German builder of keyboard instruments. He built harpsichords, clavichords, organs, and fortepianos; his modern reputation rests mainly on the latter two.
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Some clavichords do not have a string for each key. Instead, they will have a single string which will be fretted by several different keys. Out of the keys that share a single string, only one may sound at a time.
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When he returned to the town, Donelaitis refused to preach praises to the Russian Tsar. After the war he rebuilt a burned school and sponsored construction of a shelter to widows. His hobbies included building thermometers and barometers, and constructing pianos and clavichords. He died, aged 66, in Tollmingkehmen, East Prussia.
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However, during the clavichord's heyday, evenings of music-making in the home formed the largest part of people's musical experiences. In the home the clavichord was the ideal instrument for solo keyboard music and instrumental accompaniment. Today clavichords are played primarily by Renaissance, Baroque, and Classical music enthusiasts. They attract many interested buyers, and are manufactured worldwide.
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Standalone pedalboards such as the 1970s-era Moog Taurus bass pedals are occasionally used in progressive rock and fusion music. In the 21st century, MIDI pedalboard controllers are used with synthesizers, electronic Hammond-style organs, and with digital pipe organs. Pedalboards are also used with pedal pianos and with some harpsichords, clavichords, and carillons (church bells).
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The collection consisted mainly of pianos (forte-pianos), but also included harpsichords and a few clavichords. The Colt Collection contained the largest single accumulation of Broadwood pianos. The oldest specimen dated to 1775, with the most recent instrument dating to the late 19th-century. Consisting in excess of 130 instruments, the collection was one of the largest of its type in England.
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J. Verscheure Reynvaan: engraving of an eighteenth-century pedal clavichord While clavichords were typically single manual instruments, they could be stacked, one clavichord on top of another, to provide multiple keyboards. With the addition of a pedal clavichord, which included a pedal keyboard for the lower notes, a clavichord could be used to practice organ repertoire. Most often, the addition of a pedal keyboard only involved connecting the keys of the pedalboard to the lower notes on the manual clavichord using string so the lower notes on the manual instrument could be operated by the feet. In the era of pipe organs, which used man-powered bellows that required several people to operate, and of churches only heated during church services if at all, organists used pedal harpsichords and pedal clavichords as practice instruments (see also: pedal piano).
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1770 harpsichord by Moshack. Moritz Georg Moshack (1730 – before 1772) was a builder of Danish clavichords. Three of his instruments are known to exist: a fret-free clavichord dating to 1768 at the Norsk Folkemuseum, Oslo, Norway; a single manual harpsichord dating to 1770 at the Falsters Minder Museum, Nykøbing, Falster, Denmark; and the fret-free Clavichord dating to 1770 at the Musikhistorisk Museum in Copenhagen, Denmark.
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Bainbridge began his academic career at the Choate Rosemary Hall preparatory school in his birthstate of Connecticut. He matriculated at Yale University and Oberlin College before settling on Boston University, where he received his B.A. in sociology in 1971. Initially, he studied music and became a skilled piano-tuner. In his free time, he constructed harpsichords and clavichords with the "Bainbridge" name, which still exist in a few households.
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The Piano Collection of the Pomeranian Philharmonic comprises 54 instruments. These are historical instruments, mainly from the 19th century: pianos, clavichords, player pianos and harmonichords coming from Paris, Berlin, Leipzig, St. Petersburg, London, Vienna, Cologne, Riga, Stuttgart, Warsaw, Krakow, Gdańsk, Wrocław, Kalisz and Bydgoszcz. Purchases of these instruments began in 1970, under the direction of Andrzej Szwalbe. The first instrument was apiano winger, from Kaliningrad firm "Gebauhr" (ca 1875).
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Early clavichords frequently had many notes played on each string, even going so far as the keyed monochord—an instrument with only one string—though most clavichords were triple- or double-fretted. Since only one note can be played at a time on each string, the fretting pattern is generally chosen so that notes rarely heard together (such as C and C) share a string pair. The advantages of this system compared with unfretted instruments (see below) include relative ease of tuning (with around half as many strings to keep in tune), greater volume (though still not really enough for use in chamber music), and a clearer, more direct sound. Among the disadvantages: temperament could not be re-set without bending the tangents; and playing required a further refinement of touch, since notes sharing a single string played in quick succession had to be slightly separated to avoid a disagreeable deadening of the sound, potentially disturbing a legato line.
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The centre of Risinghurst is Downside Road, home to The Ampleforth, the local public house built in 1938 by now defunct Ind Coope. Risinghurst's Grovelands Road Sports Ground is home to Headington Youth Football Club. www.headingtonyouthfc.co.uk In another part of Risinghurst is a harpsichord factory: Robert Goble & Son is a maker of harpsichords, clavichords and spinets. The company is at Greatstones, a large house further up the lane that leads off The Kilns.
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In spite of the name, a minipiano is not a toy piano but is instead a patented alternative designed to compete with larger and heavier instruments. The ‘Pianette’ model was the first of its kind. The development of the pianoforte included many experiments in the size and layout of the instrument. As Hammered Dulcimers developed into Clavichords which in turn influenced the development of the Harpsichord, many sub-families developed as instrument-makers experimented with new techniques and ideas.
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Inspired by Gurlitt, Harlan developed not only recorders but also fiddles, viols and clavichords based on historical models. His most significant work was the development of the construction of the Fidel. His special concern was to make this six-stringed string instrument, which he constructed from a viola da gamba's basic frame, into a layman's instrument for the future. The Fidel and the recorder gained popularity among those new to playing music because of their easy-to-learn style of playing.
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John Challis (1907–1974) was an American builder of harpsichords and clavichords. His father Charles was a jeweler and watchmaker who moved his family from South Lyon, Michigan to Ypsilanti, Michigan in 1919. John attended Michigan Normal College (now Eastern Michigan University), where his interest in constructing keyboard instruments emerged. He spent four years apprenticing with Arnold Dolmetsch in England, returning in 1930, when he set himself up building instruments in a two-story space above a dress shop in Ypsilanti.
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Susi Jeans' concert tours took her throughout Europe, the United States and Western Australia. She adjudicated major international competitions and from 1967 held a post at the University of Colorado. She championed informed performances and authentic restoration and use of harpsichords, clavichords and organs. Jeans approved of many modern composers from German-speaking countries including her teacher, Franz Schmidt, and played works dedicated to her by such composers as Augustinus Franz Kropfreiter (Toccata Francese) and Hendrik Andriessen (Thema met Varieties, written at Cleveland Lodge).
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Paul Fischer (born Isle of man 1941), a British maker of musical instruments, began making harpsichords and clavichords in 1956 in Oxford under the tutelage of Robert Goble, with further study at the Oxford College of Art and Technology. After military service (11th Hussars) he joined the lute and guitar maker David Rubio at Duns Tew, Oxfordshire. With the benefit of Fischer's experience, Rubio began making harpsichords, soon to be followed by theorbos, viheulas, pandoras, citterns and baroque guitars. Bowed instruments were to follow.
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It was Gottfried Silbermann who brought the construction of fortepianos to the German-speaking nations. Silbermann, who worked in Freiberg in Germany, began to make pianos based on Cristofori's design around 1730. (His previous experience had been in building organs, harpsichords, and clavichords.) Like Cristofori, Silbermann had royal support, in his case from Frederick the Great of Prussia, who bought many of his instruments. Silbermann's instruments were famously criticized by Johann Sebastian Bach around 1736, but later instruments encountered by Bach in his Berlin visit of 1747 apparently met with the composer's approval.
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Some clavichords have been built with a single pair of strings for each note. The first known reference to one was by Johann Speth in 1693 and the earliest such extant signed and dated clavichord was built in 1716 by Johann Michael Heinitz. Such instruments are referred to as unfretted whereas instruments using the same strings for several notes are called fretted. Among the advantages to unfretted instruments are flexibility in tuning (the temperament can be easily altered) and the ability to play any music exactly as written without concern for "bad" notes.
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He enlisted in the Royal Fusiliers, where he reached the rank of captain. He had already begun collecting keyboard instruments in 1939, before hostilities began. Over the next twenty years he assembled a considerable collection of seventeenth- and eighteenth-century clavichords and harpsichords. His collection included instruments from all the main harpsichord-building areas of Europe: a number of English spinets; early harpsichords and virginals from Italy; Flemish instruments by the Ruckers; a late French instrument by Pascal Taskin; and a clavichord and harpsichord from North Germany, both by Johann Adolph Hass.
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Isabella's lessons came to an end in 1514 when she married Christian II of Denmark, and Eleanor left in 1518, after marrying Manuel I of Portugal (and after Manuel died, she married Francis I). Before leaving, both sisters asked Bredemers to buy them clavichords to take with them; Eleanor was known as a particularly fine performer.Brauchli 1998, 53. Bredemers retired to Lier in 1518, but continued assisting at Margaret's private chapel, and accompanied Charles during his visit to England in 1520–1521. He probably attended Charles' coronation in 1520.
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United States Patent 26,550, December 20, 1859; F. Mathushek. Piano. United States Patent 30,279, October 2, 1860 These overstrung pianos had closely spaced strings arranged at sharp angles to the keyboard following the same principles as the bichord parlor grands introduced in America by Chickering and Sons in the early 1850s (now known as cocked hats) as well as spinet harpsichords, and were also meant to have string clamp bridge agraffes deflecting the strings in order to draw the concave sounding board upwards.N. E. Michel Historical Pianos, Harpsichords and Clavichords Pico Rivera, California, 1970. "Orchestral harp shaped or 'cocked hat' grand piano", p.
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Raymond Russell, a British harpsichordist and organologist, bought his first historic keyboard instrument in 1939. Over the next twenty years he assembled a considerable collection of seventeenth- and eighteenth-century clavichords and harpsichords. His collection included instruments from all the main harpsichord-building areas of Europe: a number of English spinets; early harpsichords and virginals from Italy; Flemish instruments by the Ruckers; a late French instrument by Pascal Taskin; and a clavichord and harpsichord from North Germany, both by Johann Adolph Hass. Russell described many of the instruments in detail in his book The Harpsichord and Clavichord: an Introductory Study, published in 1959.
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A piano with Arnold Dolmetsch's inscription, in the studio of Swiss luthier, Claude Lebet Instruments built and restored by Dometsch in the Horniman museum, London, UK. Dolmetsch was employed for a short time as a music teacher at Dulwich College, but his interest in early instruments was awakened by seeing the collections of historic instruments in the British Museum. After constructing his first reproduction of a lute in 1893, he began building keyboard instruments. William Morris encouraged him to build his first harpsichord. He left England to build clavichords and harpsichords for Chickering of Boston (1905-1911), then for Gaveau of Paris (1911-1914).
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Marie Aubert died on 7 August 1700. Gigault soon remarried, but himself died just a few years later, on 7 August 1707. The inventories of Gigault's possessions, taken in 1662 and in 1700 (on the account of his marriage and his wife's death, respectively), reveal that already by 1662 he was no longer poor and could afford a well-furnished home with a collection of paintings and sculptures, and a large number of musical instruments: a chamber organ, two harpsichords (one with two manuals, the other with one), three spinets, two clavichords, a bass viol, two treble viols, a theorbo and a guitar.Pyle 1991, 40.
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Although not technically pianos, the following are electric harpsichords and clavichords. Baldwin's "Solid-Body Electric Harpsichord" or "Combo Harpsichord" is an aluminum-framed instrument of fairly traditional form, with no soundboard and with two sets of electromagnetic pickups, one near the plectra and the other at the strings' midpoint. The instrument's sound has something of the character of an electric guitar, and has occasionally been used to stand in for one in modern chamber music. Roger Penney of Bermuda Triangle Band worked on the design and development of the original instrument for the Cannon Guild Company, a premier harpsichord maker located in Cambridge Massachusetts.
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Much of Pachelbel's liturgical organ music, particularly the chorale preludes, is relatively simple and written for manuals only: no pedal is required. This is partly due to Lutheran religious practice where congregants sang the chorales. Household instruments like virginals or clavichords accompanied the singing, so Pachelbel and many of his contemporaries made music playable using these instruments. The quality of the organs Pachelbel used also played a role: south German instruments were not, as a rule, as complex and as versatile as the north German ones, and Pachelbel's organs must have only had around 15 to 25 stops on two manuals (compare to Buxtehude's Marienkirche instrument with 52 stops, 15 of them in the pedal).
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Music was greatly enjoyed throughout this era, as seen through quite a few family evenings including musical performances. Children were taught to sing and dance at a very early age and became used to performing in public during such evenings. Keyboard instruments such as harpsichords, clavichords, dulcimers and virginals were played. Woodwind instruments like woodys, crumhorns, flutes and stringed instruments such as lutes and rebecs were also widely used. Court dances included the pavane and galliard, the almain and the volta, whilst among popular dances were the branle, The Barley-Break (a setting by William Byrd is in My Ladye Nevells Booke), Nobody’s Jig (of which a version was set by Richard Farnaby) and the Shake-a-Trot.
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Speaking about the album's creative process in an interview with Entertainment Weekly, she said "I ... spent a year or two on the instrumental arrangements and overdubs. I wanted the character and colors of the instrumentation to shift definitively, from song to song, which entailed a wide pool of collaborators and a lengthy collaborative process with each person." She further described the process of making the album as "probably the most fun I’ve had making a record". Entertainment Weekly also reported Newsom "as using an arsenal of nearly a dozen keyboards and synths including clavichords, Mellotrons and Marxophones" for the album while members of the City of Prague Philharmonic Orchestra feature as players on the album.
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Other extraordinary keyboards include a Neapolitan virginal (ca. 1520), three 17th-century Flemish harpsichords (two by Andreas Ruckers), 17th- and 18th- century English, German, Portuguese, and French harpsichords, and German and Swedish clavichords. A group of 500 instruments made in the late 19th and early 20th centuries by the C.G. Conn Company of Elkhart, Indiana, is a resource unparalleled anywhere for historical research about a major American industry and the American band movement. The NMM's holdings by 17th- and 18th- century Nürnberg makers of wind instruments, including members of the Denner, Ehe, Haas, Oberlender, and Steinmetz families, as well as Ernst Busch, Paul Hainlein, Johann Benedikt Gahn, Johann Carl Kodisch, Leonhard Maussiel, Michael Nagel, and Paulus Schmidt, are unique outside of Germany.
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In 1927, he lent a clavichord which he had built to Herbert Howells; Howells used it to compose a 12-piece collection, which he named "Lambert's Clavichord".Herbert Howells Performed on Lautenwerck , by Edward Brinkley, from the South Central Music Bulletin (Volume IV, number 1 – Fall 2005); page 54; "named in honor of Herbert Lambert, who in 1927 let Howells borrow one of his hand-made clavichords"; retrieved 26 July 2005A Harpsichord Odyssey (I) by Edgar Hunt, at the British Harpsichord Society; posted online 27 November 2005; retrieved 26 July 2011 Howells also introduced Lambert to Gerald Finzi,Gerald Finzi: His Life and Music, by Diana McVeagh, page 63; 2010, Boydell & Brewer (via Google Books) whose 1936 Interlude for oboe & string quartet, Op. 21 was inspired by Lambert.
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The family initially lived rent free in an attic apartment at No. 3 Cheyne Walk in Chelsea, where Robert had a part-time job restoring a collection of Elizabethan-era musical instruments such as virginals, harpsichords and clavichords, that had been donated to the National Trust by Benton Fletcher. The lower floors of the building were a museum for the instruments. In late 1952, the National Trust moved the collection of keyboard instruments to Fenton House, and the family moved to Brondesbury Road, and then, in 1953, to a house they bought in Oxgate Gardens. Robert worked for the BBC as a studio manager for The Goon Show and the BBC World Service, and then for EMI, where he was involved with the development of stereophonic sound and the LP record.
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In a typical keyboard layout, black note keys have uniform width, and white note keys have uniform width and uniform spacing at the front of the keyboard. In the larger gaps between the black keys, the width of the natural notes C, D and E differ slightly from the width of keys F, G, A and B. This allows close to uniform spacing of 12 keys per octave while maintaining uniformity of seven "natural" keys per octave. Over the last three hundred years, the octave span distance found on historical keyboard instruments (organs, virginals, clavichords, harpsichords, and pianos) has ranged from as little as to as much as . Modern piano keyboards ordinarily have an octave span of ; resulting in the width of black keys averaging and white keys about wide at the base, disregarding space between keys.
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Glasschord by Beyer, 1786, this collection,s one of only four thought to be extant This passion for, and love of music consumed most of his spare time, and after World War II, he began expanding on the small library inherited from his father with classical music dictionaries, encyclopaedias, manuscripts, complete composer compendiums, etc. in many languages, and volumes of music scores. In addition, he acquired ancient and early keyboard instruments -a 1589 Clavicytherium, Clavichords, a Glasschord, Spinettino, Harpsichords, a Hammerklavier and early pianos (eventually comprising 19 instruments, plus 2 modern Steinway Grands)- depicting the development of the piano; the collection also included a Viola d'Amore.Hans Adler Musical Instrument Collection Website The collection,s Andreas Ruckers Epinette or Virginal, ab1610 The collection,s one of only two known, Menegoni Ottavino or Virginal 1689 The collection,s 1750 Italian 2 manual Harpsichord From the collection – the ex Wanda Landowska 16th century gothic harpsichord His library grew very comprehensive, especially in keyboard compositions and productions, and, together with the instrument collection, evolved into a museum housed in his Johannesburg home.
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Herbert Richard Lambert, FRPS, (1882– 7 March 1936, 53-54 years of age at time of death)HERBERT LAMBERT, from the British Journal of Photography, volume 83; 13 March 1936; p 164 was a British portrait photographer known for his portrayals of professional musicians and composers including Gustav Holst. In 1923 he published Modern British Composers: Seventeen Portraits in collaboration with Sir Eugene Goossens,Modern British Composers. Seventeen Portraits by Herbert Lambert, with a Foreword on Contemporary British Music by Eugene Goossens, at WorldCat; retrieved 26 July 2011 and in 1926, he became managing director of the Elliott & Fry portrait studio.Herbert Lambert at the National Portrait Gallery; recovered 26 July 2011 In 1930, he published Studio portrait lighting, a technical guidebook.Studio portrait lighting at WorldCat; retrieved 26 July 2011 He is also responsible for salvaging much of the 19th- century photography of Henry Fox Talbot, by re-photographing the remains of Talbot's photographs.The magic image: the genius of photography; by Cecil Beaton and Gail Buckland (1975, Weidenfeld & Nicolson) In addition to photography, Lambert was also an amateur maker of musical instruments, specialising in harpsichords and clavichords.
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