Harpsichords and Clavichords Part 1

Harpsichords and Clavichords.

by Cynthia A. Hoover.

_Harpsichords and Clavichords_

The harpsichord and the clavichord represent the two most important types of stringed keyboard instruments used from the 15th through the 18th centuries. By the 19th century, the piano had become the most important domestic keyboard instrument.

In this booklet are described a few of the restored Smithsonian harpsichords and clavichords that are occasionally on exhibit in the Hall of Musical Instruments or in use in the series of concerts sponsored by the Division of Musical Instruments. Models showing how the sound is produced on these instruments are also on exhibit.

A complete list of the keyboard collection is found in _A Checklist of Keyboard Instruments at the Smithsonian Inst.i.tution_ (Was.h.i.+ngton, 1967), which is available from the Division of Musical Instruments, Smithsonian Inst.i.tution, Was.h.i.+ngton, D.C. 20560.

_Harpsichords_

The harpsichord and its smaller relatives, the virginal and the spinet, have strings that are _plucked_. The harpsichord is wing-shaped, most virginals and spinets are either rectangular or polygonal.

When the harpsichord key is pressed, a wooden jack is raised so that a quill or leather plectrum inserted into the jack tongue plucks the string. When the key is released, the jack falls back into place, the pivoted tongue allowing the plectrum to pa.s.s the string without plucking it. A felt damper (inserted in a slit at the top of the jack) touches the string to stop the sound.

Figure 1 shows the jack arrangement in an 18th century English spinet.

The second jack from the left on the front row has been raised so that its quill is just about to pluck the string. Note that the quill has lifted the string above its rest position.

Inherent in the design of a harpsichord is the limitation of dynamic nuance. The sound of a harpsichord is not greatly altered by increasing or lessening the impact of fingers on the keys. Rather, the dynamic level and quality of sound can be changed by varying the number of strings plucked (many harpsichords have three sets of strings: two sets tuned in unison [8'] and a third tuned an octave higher [4']), by varying the location of the plucking point, and by muting the strings with felt or leather pads.

The tone of a keyboard instrument is also affected by its general outline, the material and thickness of the soundboard, the length and material of the strings, and the type of case construction. The case must be strong enough to counteract the tension of the strings and yet light enough to allow the sound to resonate.

[Ill.u.s.tration: 1. Harpsichord action. _Photo: Robert Lautman._]

Among the Smithsonian's extensive keyboard collection are fine examples of harpsichords that represent several of the major national trends in harpsichord building: the Flemish, Italian, English, and French.

_Flemish Harpsichords_

Antwerp was the harpsichord-making center of northern Europe during the 16th and 17th centuries. The earliest examples of harpsichords had only one keyboard and one or two sets of 8' strings. The progressive Flemish makers added a second keyboard and another set of strings, tuned an octave higher than the others, which allowed a wider range in pitch and more variety in sound. Later French and English harpsichords were largely derived from the Flemish style.

Virginal, _1620; made by Andreas Ruckers, Antwerp One manual; Range C/E-c (apparent); 18'_

[Ill.u.s.tration: 2. Ruckers virginal: Plan view.]

[Ill.u.s.tration: 3. Ruckers virginal: Full view.]

[Ill.u.s.tration: 4. Ruckers virginal: Detail of keyboard.

_Photo: Robert Lautman_]

[Ill.u.s.tration: 5. Ruckers virginal: View of soundboard and lid.

_Photo: Robert Lautman_]

Instruments built by the famous Ruckers family were and are still highly prized. Although simply painted on the exterior, the case of this virginal is decorated on the inside in characteristic Ruckers style.

Block-printed papers cover the interior of the case; the inside of the lid bears a Latin motto and the soundboard is painted with flowers and arabesques. Figure 4 ill.u.s.trates a detail of the block printing, and of the keys. The arcades on the end of the keys appear to be cut from several layers of leather which were then applied to the key fronts.

This instrument is tuned a fourth higher than it might appear. When the C key is pressed, the note sounded is F, a fourth above.

_Short-Octave Tuning_

Since chromatic notes in the lowest octave of the keyboard were not often needed in the music of the 16th and 17th centuries, the practice of short-octave tuning was adopted.

Although the lowest note on a short-octave instrument appears to be E, the range was actually extended down to C. (The notation C/E indicates this arrangement.)

[Ill.u.s.tration: NORMAL TUNING]

[Ill.u.s.tration: SHORT-OCTAVE TUNING]

A typical short-octave instrument of the 16th and 17th centuries would be tuned in the following manner: E (1) is tuned down to C (I); F? (2) tuned to D (II); and G? (3) tuned to E (III).

Harpsichord, _1745; made by Johann Daniel Dulcken, Antwerp Two manuals; Range FF-f; 28v, 14', lute_

Typical of northern European instruments, the Dulcken harpsichord has a heavy case, two keyboards or manuals, and two 8' choirs and one 4'

choir. It also has a lute stop, whose jacks, very close to the nut, pluck one set of unison strings to produce a pungent, nasal tone.

[Ill.u.s.tration: 6. Dulcken harpsichord: Full view.

_Photo: Robert Lautman_.]

[Ill.u.s.tration: 7. Front view. _Photo: Robert Lautman_.]

[Ill.u.s.tration: 8. Dulcken harpsichord: Plan view.]

[Ill.u.s.tration: 9. Dulcken harpsichord: Detail of keyboards.

_Photo: Robert Lautman_]

[Ill.u.s.tration: 10. Dulcken harpsichord: Detail of soundboard.

_Photo: Robert Lautman_]

_Italian Harpsichords_

Typical Italian harpsichords had two choirs of unison strings and two jacks for each key. They were of much lighter construction than those made in northern Europe-the sides of the case were only about an eighth of an inch thick. These fragile instruments were usually placed in heavier, often elaborately decorated, outer cases from which the harpsichord could be removed.