EarlyMusicNews.Org

"I have been involved in the making of harpsichords since 1976, coming to the craft from a period of time in an organ-building workshop, which followed an earlier musical training at college and university, where I specialised in early keyboard studies.

I am primarily self-taught as a harpsichord maker, and my experience has led me to offer the range of instruments that you will find detailed here.

In order to cope with the practical needs of musicians, the compass of some of my instruments has been extended, and all have the capability to transpose once, or twice if required. These practical alterations sometimes necessitate a slight widening of the keywell, or enlargement of the case – nonetheless, historical practice is closely followed and respected at all times in the design, the choice of materials and the decoration of all of my instruments. " Visit website for more information. (ed.)

Added on: Feb 24, 2008 | Hits: 437

"Webside greetings! As you can see I've been building keyboard instruments based on original historical instruments for almost thirty years. I try to determine the type of music my client will play, and present to them optional solutions. A few of my recent clients have specialized in music of the renaissance which requires smaller, more colorful instruments. Although I've built the following double manual harpsichords: Dulcken #1 lives in Toronto. Dulcken #2 lives in Austria. My two manual Zell lives here in Seattle and has been recorded and my two manual Bellot also lives here.

If I build more doubles they will be like my copy of the 1667 anon. French in the Boston museum. I also very much like the Tibaut and the Denis doubles. There are far too many makers who turn out the 18th century Blanchet, Hemsh, and Dulckens for me to complete with and I personally like building small practical instruments that most people can afford.

I am passionate over small extrovert Italian instruments which are easy to maintain and move about. I feel strongly that the true musician should seriously explore the Clavichord since it is so challenging to play well. I love turning wonderful woods into lasting objects of beauty. My home workshop is a fascinating must see for anyone visiting the Seattle area. " Visit website for more information. (ed.)

Added on: Apr 06, 2008 | Hits: 437

“In addition to my regular building and restoration, I also offer a variety of services regarding the stringing of historical pianos, both originals and copies. These include the interpretation of existing gauge marks, the devising of entirely new stringing schedules when no marks are present and the design and fabrication of wound bass strings of all types and materials, both open and closed wrapped. I rely upon a combination of evidence drawn from original instruments, information gleaned from original piano making manuals of the 19th century, and a sophisticated computerized analysis technique. Surviving strings are faithfully copied in wrapping form and hitchpin loop. Bass core wires are always pre-stretched before wrapping until they stabilize at 80% rupture load in order to assure rapid stability of pitch once mounted and prevent in-situ stretching which can create loose wraps. Modern steel core stock is never used, and every attempt is made to find the best possible solution from among the various available “historical” wire types.“

Visit website for more information. (ed.)

Added on: Jun 22, 2005 | Hits: 440

Copies of the best and finest keyboard musical instruments existing in european and american museums

Added on: Mar 16, 2007 | Hits: 441

"My main field of interest is the study of the history, construction, design and functions of harpsichords, virginals, spinets, organs and fortepianos from the period of their first construction to the period around 1820.

Much of my time is spent in the restoration of early keyboard instruments and in the construction of historically-based harpsichords and virginals. In addition I have been involved in consultations with private and public institutions and individuals throughout Western Europe concerning the authenticity and restoration of early keyboard instruments from the historical period.

In the past I have devoted a great deal of time and study to the harpsichords and virginals built by the Ruckers family in Antwerp. But my main field of interest at the moment is the study of Italian keyboard instruments and, in particular, the study of the use of the local unit of measurement in their design and construction. Hence I am also deeply involved in historical metrology and have now collated one of the most extensive data bases of the lengths of the various local units of measurements used in the various centres and regions of the Italian peninsula (see: Geometry and the Unit of Measurement). The two main regions of interest are the sixteenth-century instruments made in Venice and in Naples. " See website for more information. (ed.)

Added on: Mar 04, 2008 | Hits: 443

Since 1975, Laurent Soumagnac builder and restorer of harpsichords, passionate for his craft. This passion for "l'art du geste" leads to national award in 2004 "Restoration et Conservation" of the Société d'Encouragement aux Métiers d'Arts.

Laurent Soumagnac met in 1971, Hubert Bedard, Conservator of the useum Instrumental de Paris. Decisive encounter: he decided his choice of career. Hubert Bedard became his "maître" and give him a love of learning.

Under the name “L’Atelier du Clavecin”, Laurent Soumagnac creates year after year, his own models: épinette française, clavecin italien, clavecin flamand et français, with one or two keyboard configuration.

Visit website for more information. (ed.)

Added on: Mar 10, 2008 | Hits: 444

Yves Crétinon, Harpsichord Maker. Visit website for more information. (ed.)

Added on: Mar 10, 2008 | Hits: 444

Steven Sørli -- "Sorli Harpsichords are designed to provide a genuine experience of early keyboard music. Inspired by antiques, all models are constructed using a combination of intuition and ingenuity to ensure the utmost in musical expression. Outstanding qualities of the Sorli sound include incisive clarity, richness, unified balance, pronounced attack, dynamic projection and musical versatility. The action is crisp and solid providing a secure sense of control.

Steven Sorli creates each instrument individually as a work of art. His aesthetic abilities contribute to a tasteful blend of color and form which add a complementary balance to the tonal shades. The diverse textures adorning his harpsichords are reminiscent of those executed by the masters of old. Mr. Sorli has been the recipient of a craftsman's fellowship grant from the National Endowment for the Arts. " Visit website for more information. (ed.)

Added on: Jun 22, 2005 | Hits: 449

"I have been making instruments since 1982, and began making harpsichords in 1988. I make them in my own workshop in North London and though I do use machines, I make a point of working as much as possible by hand.

I want my harpsichords to be high quality, reliable instruments, but not to look mass produced. I want them to feel human, and to have my fingerprint on them; for this reason I also make my own jacks and do my own soundboard painting. " See website for more information. (ed.)

Added on: Mar 03, 2008 | Hits: 450

Welcome to Zuckermann Harpsichords International, the world’s leading maker of historically-based keyboard instruments. A harpsichord is more than simply an instrument upon which one makes music; it is also a decorative object, a visual as well as an aural feast. Our superior-quality harpsichords, clavichords, spinets and virginals are closely based on the best extant antiques from the sixteenth, seventeenth and eighteenth centuries. We seek not to copy them as much as to recreate their baroque and early-classical motifs. The results are instruments of ageless beauty and sound.

Added on: Jun 22, 2005 | Hits: 452

"The Atelier von Nagel was founded in 1963 by Reinhard von Nagel as a cabinetmaking shop in Paris' Latin Quarter.

Since 1970, Reinhard von Nagel and his fellow artisans have concentrated on the construction of musical instruments, and particularly the recreation of historic harpsichords. In 1970, the Atelier moved to the site of the former Madeleine de Traisnel Priory on the Faubourg Saint Antoine in Paris. ... " See website for more information. (ed.)

Added on: Mar 10, 2008 | Hits: 452

Orgues et Clavecins Alain Dieu
Atelier de construction artisanale
12, rue de l'Eglise
F- 25360 VAUDRIVILLERS
tel/fax: 03 81 60 45 02
Email: wwkbank@rocketmail.com

Added on: Mar 17, 2007 | Hits: 454

"After years of playing in school and community bands and orchestras, Paul Irvin was introduced to Bach, Baroque and the harpsichord while studying in college. Soon after receiving his B.A. in chemistry in 1969, he built his first harpsichord from a kit. Dissatisfaction with a second kit caused him to abandon it to begin researching the historical harpsichord. This study resulted in instruments of his own design, based on historical principles. Word-of-mouth demand turned his hobby into a career of custom designing harpsichords and clavichords, a career now in its twenty-third year. ...

We are committed to providing the finest quality Early Keyboard Instruments and professional Service. As you explore this site we hope you find it an informative and enjoyable way to learn more about us and the world of early keyboard instruments. " Visit website for more information. (ed.)

Added on: Feb 24, 2008 | Hits: 454

"I offer harpsichords and other early keyboard instruments which are based on historic instruments. My philosophy is to follow the original design and materials very closely, obtaining details from drawings, literature and personal studies of instruments in museums and private collections. The only exceptions I make are to add certain features to make the instruments less susceptible to changes in temperature and humidity and to add features at a customer’s request. Customised features include the ability to play in modern pitch (A=440) and/or baroque pitch (A=415), extended compass and decoration.

My background is in engineering and I find this an enormous help in understanding and making instruments; after all, instrument making is basically engineering in wood! " See website for more information. (ed.)

Added on: Mar 03, 2008 | Hits: 454

Welcome to my web site. Yes, I'm the author of The Harpsichord Owner's Guide, but I've done more than just write HOG. Let me tell you a little about myself. I'm a musicologist, retired from the University of Iowa in 1992. I'm still actively engaged in scholarship and just completed a book on the history of the harpsichord (released in May, 2003). That instrument has been the object of my scholarly attention for more that 25 years. I've written a number of articles and reviews on it, and presented papers on early keyboard matters at many scholarly conferences. For almost 15 years I was involved in acoustical research on the harpsichord, and have done articles and presentations on that topic, too. I've written six books, three of which deal with the harpsichord. And of course, as an agent of Zuckermann Harpsichords International, I build harpsichords, too. ...

Added on: Jun 22, 2005 | Hits: 456

" Adam J. Decker has been serving the needs of harpsichord enthusiasts for 15 years in the Southeast. He formed Early Keyboards of Atlanta out of a growing desire to see the harpsichord's popularity reach a new zenith here in the South. Through constant interaction with universities, baroque ensembles, churches and individuals he has maintained a steady clientele of both new and repeat customers. From simple adjustments to complete technical rebuilding he is able to meet whatever early keyboard need you may have. " See website for more information. (ed.)

Added on: Mar 03, 2008 | Hits: 458

Hubbard Harpsichords specializes in crafting harpsichords. We offer a full line of custom instruments based on originals produced in the 16th, 17th and 18th centuries. We also offer a number of these instruments in kit form for those who enjoy the indescribable adventure of recreating an instrument of the past.

Added on: Jun 22, 2005 | Hits: 459

"For more than a quarter century I have been making harpsichords and clavichords for individuals and institutions across North America. My instruments are entirely custom made to suit my customer's needs and desires. The designs I use are drawn from antique instruments of proven musical value; the materials I use and the methods I use to make my harpsichords are the very best I have been able to find. My harpsichords are remarkably close to the originals, especially with respect to the sound they produce and the feel of the action. I am also very concerned about the musical and functional utility of the harpsichords I make. So while they are historically accurate, they are also easy to live with. My harpsichords are entirely made by hand, right down to the tuning pins; I use no kits or kit parts. -- David Jensen " Visit website for more information. (ed.)

Added on: Jun 22, 2005 | Hits: 463

"Born in 1959, I began studying piano at the age of 11. I devoted myself to the study of composition too, but soon I took an interest in organ and in 1985 I graduated at the Conservatory of my city, Palermo. I pursued my studies in l'Aquila under M° Giorgio Carnini's guidance and then at Musikhochschule in Munich with Klemens Schnorr. At the same time I passionately devoted myself to the organological study of the keyboard instruments attending summer courses and prestigious workshops. I formed my workshop which rapidly has imposed itself as the only reality in this field in Central and Southern Italy. The extraordinary quality of the instruments, defined with a meticulous care for the details, has received great recognitions by all the performers who use them for concerts and recordings. " Visit website for more information. (ed.)

Added on: Apr 27, 2008 | Hits: 465

“Akio Obuchi started harpsichord building in 1969.  After visiting museums and instrument builders in Europe in 1975, "learning from historical works" has been his fundamental attitude of instrument making.  He makes replica of extant instruments or new instruments within the categories with period and countries. He always keeps tone characters of finished instruments in mind through the entire proecess of making instruments. Since the first experimental Geigenwerk was made in 1993, he cannot give-up his dream of keyboard instrument with which the player can control tone pitch and dynamics, he continuously challenges making mechanically bowed keyboard instruments.

He started violin lessons at seven years old.  Through his experience in playing the violin in symphonic orchestra, chamber ensemble, and baroque consort, his interest buildup more on period instruments, and studied baroque violin with Keiko Watanabe, since 1984.  He is performing concerts with his friends in churches and other places.  

In 1971, he received MS degree in mechanical engineering from Nihon University.  His working career started with research and development on electro-acoustic transducers at Pioneer Electronic Corp.  Then, moved to Schlumberger Oilfield Services Inc. to further develop his professional career, contributing in R&D programs on acoustic measurements for oil and natural gas explorations.  After working several years for Vodafone Co., Ltd. he resigned in 2004. Since then, his time is fully dedicated for research and making historical keyboard instruments.  

Member: Japan Clavichord Society; American Musical Instrument Society”

Visit website for more information. (ed.)

Added on: Sep 15, 2009 | Hits: 470

"The design of our jacks was originally inspired by Ruckers jacks, particularly where the dimensions of the tongues are concerned, and to some extent the thickness of the bodies. Tongues are currently cut from very nice straight and quarter sawn hornbeam, to maximise the strength at the plectrum slot. (slab sawn tongues are 4 x weaker than quarter sawn, and hence 4 x more prone to splitting. 31 mm long by 4.2 mm wide and 2.8 mm thick, they are fully shaped in profile and aspect. We no longer use a cut across the back of the plectrum slot, as this just weakens the tongue at the slot. The aim being to maximise the strength of the tongue at the plectrum slot, and lighten it as far as possible elsewhere. 6 degree upward slope on plectrum slot. Similarly the jack body we try to make quarter sawn - as did Ruckers - giving a 4 x stronger damper slot, and a more stable jack. Rock maple has served as the material for recent years. Wild Service, pear, holly, beech are other possible materials." See website for more info. (ed.)

Added on: Feb 02, 2008 | Hits: 473

Suppliers of harpsichord or fortepiano parts.

Added on: Jun 22, 2005 | Hits: 476

"Tony Chinnery builds and restores harpsichords and other keyboard instruments. The site contains descriptions of some of the instruments he has built and restored, harpsichords, spinets, chamber organ, with photos and sound examples as well as information on the Cristofori piano built by Kerstin Schwarz, and a harpsichord buyers guide. " Visit website for more information. (ed.)

Added on: Apr 13, 2008 | Hits: 476

"I have been involved with making, restoring and repairing harpsichords, clavichords, virginals, spinets and early pianos for most of my working life, and the vast majority of my customers for brassware know the funny world we inhabit very well. I realise however that a website will inevitably reach others, so a few words of explanation might be appropriate. Harpsichord family instruments like pianos have large lids although not I hope quite so massive. The lids need to be securely fastened but also must be readily removed....for example when a harpsichord is used with a baroque orchestra the lid open would hide players and the music they make. The 'strap' hinges therefore are mostly fitted to the top surface of the lid and fasten to the spine, the pivot being below the lid; the different strap hinges have varying depths for the 'return' and there are fixing holes for the return to the edge of the lid as well as those on the top; these are fitted with a loose pin; some however have no return and are showing on the inside of the lid when it is open. Some of either type are made with a fixed pin and the lid slides off to the tail to remove it. The 'flap' hinges are meant for the joint between main lid and the front 'flap', which exposes the keys and the wrestplank, and are mostly fitted to raised battens on the top surfaces, angled so that the flap opens rather more than parallel to the main lid. Here the important dimension is the open width, since they have to fit onto the battens and not stick out. Locks are either of the 'lock & hasp' variety, or fitted into the top outside edge of the casework, either being very visible and therefore decorative. I'm sure there are many more ways of using any of these decorative hinges than I've thought of.....This is basically a one-man business; I don't pour the metal but I do all else, so any hinge could be given a loose pin if needed; or left with an unpolished but slightly rippled finish from a blast cabinet and glass bead, or even if you have the right object, cast in bronze or even silver (or possibly aluminium although we haven't tried this). The foundry is very small too so we have some flexibility. "

 Visit website for more information and pricing of parts. (ed.)

 Tags: David Law

Added on: Feb 02, 2008 | Hits: 482

Jean-Paul Rouaud, Harpsichord Maker. See website for more information. (ed.)

Added on: Mar 10, 2008 | Hits: 485