The harpsichord
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I had a harpsichord for a number of years. A Zuckerman, built in 1974 from a kit (not by me). Unless one has a climate-controlled room, which I do not, they require a lot of attention. Almost constant tuning is necessary, every day, sometimes. Then in the heat of summer it's all too common to experience a string snapping. I eventually got rid of it; gave it to my piano tuner in exchange for him moving my piano from what was then the music room, to the living room. His intentions were to prep it for an ensemble up north of here, but it appears that never came to pass. Last time he was here he said he still had it if I was interested in re-acquiring it. It's very tempting, but I really don't have space for it, they are long.
@Bernard One of my very good friends was a harpsichord major in college. Her story:
Dad and I worked together making my Hubbard harpsichord. It arrived in uncut pieces and an instruction manual. We built it in the summer of 1972.
It is a French double (meaning there are two manuals, each containing 63 keys. It has hand stops for changing the registers. This particular style of harpsichord first originated in France.)
The disposition is this: top manual — 8’; bottom manual — 8’ and 4’, plus additional Peau de Buffle (buffalo hide). Also there is a lute stop. The top and bottom manuals can be coupled together so that there is the equivalent of both 8’ registers from top and bottom manuals playing simultaneously. When the 4’ is added to this, the result is what is commonly called, “full harpsichord.” It represents the “loudest” option, and involves greater pressure to push down the keys. The Peau de Buffle is the softest register. The keys are white on black, with arcaded key fronts. The case is painted pale green, with gold trim, and the soundboard is decorated with flowers.
I actually played on this instrument for my Master’s recital at Northwestern. It had to be approved by my harpsichord instructor there, Dorothy Lane. She was skeptical before she heard it, but was then won over.
My friend doesn't really play it much anymore because of what you mentioned, the instrument's high maintenance requirements. Besides the routine stuff, it also needs some more significant work. She was starting to try to find a new home for it a few years ago but as far as I know she still has it. I think her dream was for a student who couldn't afford an instrument to have it and to love it as much as she had.
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I had a love affair with clavichords in the 1970s. I even visited the workshops of builders in England when I had concerts there. It’s a lovely instrument but I guess I grew out of the vs obsession.
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@ShiroKuro I would be so happy if my local town's university had a community program for music. But they don't. Nada. It's a state university, I don't know if that's the reason. The music school I was attending is 35 miles away, which doesn't sound terrible, but when making the trip once or twice a week, it gets to be a bit much. I wish we had public transport up here!
@Bernard said in The harpsichord:
my local town's university had a community program for music.
That's quite unfortunate! My previous uni had a community orchestra and also offered community music lessons for kids and adults. At my current uni, I think the music school as actually too large (and too "famous") to do much for the community, because it's bursting at the seams with its own students. However, since I registered as a non-degree seeking student, I can now be involved, so we'll see how it goes.
And of course, it's in my town, not a drive like what you would have to the music school. I totally get that by the way, we have to be able to fit these things into our lives or they're not sustainable.
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When the world wearies and society ceases to satisfy, there is always the garden - Minnie Aumônier
