Instruments

Here I present a representative choice of instruments. Just click onto any photo to view the corresponding picture gallery.

For my instruments I use only first class, long-seasoned wood. For glue I use hide and fish glue which have been tested and approved for hundreds of years. I make the finish of the instruments with natural substances such as linseed oil, shellac, bees wax and either oil-colour or egg-tempera on chalk base.

 

For concert rental I can currently offer three different instruments: an Italian harpsichord after Aelpidio Gregori (N. 02), an Italian Renaissance harpsichord (No. 09) and the twin instrument of an Italian spinet (No. 11).

Should you be interested in further information and samples of my work as well as my current instrument and price list I look forward to hearing from you.
For my contact details and the directions to my workshop, please refer to the page “location”

Select one of the following links to get to the appropriate category:
Italian Instruments | German Instruments | Flemish Instruments | French Instruments

Italian Instruments

The thin-cased instruments are built with cypress. “False-inner-outer instruments” are made of poplar, coated on a chalk base and with gilded mouldings. The soundboard is made of spruce or cypress and has a parchment rose. The key tops are made of boxwood for the naturals and ebony on top of walnut sharps. For an additional charge also in ivory. The strings are normally made of brass. The instruments are supported by two turned trestles.

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Harpsichord

Italian harpsichord after models of the 17th century, thin-cased instrument made of cypress. Compass: C – d'''.

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Harpsichord

Italian harpsichord after Aelpidio Gregori (1726) with lid painting copied from Canaletto by Dörte Busch.

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Harpsichord

Two-manual Italian harpsichord after an anonymous model at the Germanic National Museum in Nuremberg.

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Harpsichord

Italian harpsichord with extended compass C – d''', pitch: 440 Hz transposing to 466 Hz and 415 Hz, after models of the 17th century as “false inner-outer”.

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Harpsichord

Italian harpsichord after models around 1700, false inner outer, 8', 8', compass: GG, AA, BB,C – d''', with carved keyboard cheeks.

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Harpsichord

Harpsichord after Alessandro Trasuntino (1531), thin-cased, with a 8' and a 4', compass according to customer: C, D – d''', iron scale, double transposing 415 Hz, 440 Hz, 466 Hz (original was C/E – f''').

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Spinet

Polygonal Italian Spinet after Domenicus Pisaurensis (1540), 8', compass: C/E – f'''.

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Clavichord

Clavichord after Domenicus Pisaurensis, Leipzig Nr. 1, the oldest preserved signed clavichord (1543). Multiple-fretted, two-course instrument, compass: C/E – c'''.

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Cembalo

Italian renaissance harpsichord around 1520, neapolitan type with case of maple after an anonymous original with iron strings and a high chamber pitch a'= 494 Hz, 8',4', compass C/E – g'', a'' with split sharps and broken octave.

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Clavichord

Clavichord after Dominicus Pisaurensis, 1543, compass: C/E – c''', 8', 8', triple to quadruple fretted, the thin-walled case of cypress is inserted into an outer case.

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Spinet

Polygonal spinet after Dominicus Pisaurensis, 1540, with reduced compass C/E – c''', 8', with brass strings. The thin-walled instrument is of cypress with elaborate mouldings and is inserted into an outer case. It weighs only 8,4 kg (without case) and can therefore be easily transported. Due to its full, rich sound it can also be used as a continuo instrument.

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German Instruments

The instruments are built from plain wood (case of solid walnut, maple, cherry etc.) or painted upon a chalk base. The natural key tops are of ebony, the sharps are of pear with a layer of bone. With the Zell-instruments the natural key tops are of bone, the sharps are made of ebony. The stand consists of an upper and lower frame with six to eight turned legs.

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Harpsichord

Single-manual German harpsichord after Christian Zell (1741), 8', 8', compass C – d', case of walnut.

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Harpsichord

Two-manual German harpsichord after Michael Mietke (1710), 8', 4', 8', lute stop, compass: FF/GG – f''', case of maple painted dark red upon a chalk base. Stand of plain wood with gilded mouldings.

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Harpsichord

Single-manual German harpsichord after Christian Zell (1741), 8', 4', 8', enlarged compass: GG/AA – d''', gilded ornaments upon black base after Christian Vater, inside solid cherry.

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Clavichord

Fretted Swiss clavichord after Johann Conrad Speisegger (Schaffhausen, 1725), double-triple fretted, compass C – c''', framed in green, inside with hand-marbled paper, keys of plum/bone with embossed front-face leather ornaments in typical Swiss manner.

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Clavichord

German clavichord around 1700 after Leipzig No. 10, fretted, C/E – c''', broken octave with F sharp and G sharp, iron scale, case of walnut, keys of boxwood/ebony.

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NEW: Harpsichord

Two-manual Italian harpsichord after Michael Mietke around 1700, compass: FF, GG – f''', 8'4'8' register, case of maple, painted blue upon a chalk base with gilded cassettes, second layer inside and stand of walnut.

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Flemish Instruments

The case is of poplar or willow, painted upon a chalk base, inside with tapestry. For extra charge gilding or marbling is possible. The soundboard is of fine spruce and has a gilded tin-rose. Painting of soundboard and lid upon request. The key tops normally are of bone and bog oak. The stand of oak in typical Flemish form is standard, the elaborate ladder-form with up to 11 turned columns is possible for extra charge.

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Harpsichord

Flemish harpsichord after Johannes Ruckers (1624), petit ravalement round 1700, 8', 4', 8', lute stop, compass: GG/AA – d''', e''', execution in French style, sound board painting by Cornelis Verboom (the Netherlands).

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Harpsichord

Two-manual Flemish harpsichord after Johannes Ruckers (1624), petit ravalement round 1700, 8', 4', 8', compass GG/AA – d''', pitch: 440 Hz transposing to 415 Hz.

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Harpsichord

Two-manual Flemish harpsichord after Johannes Ruckers (1624), petit ravalement round 1700, 8', 4', 8', compass GG/AA – d''', pitch: 440 Hz transposing to 415 Hz.

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Virginal

Flemish double virginal “Mother and Child” after Johannes Ruckers, around 1620, compass C/E – c''', 8', 4', both instruments can be joined together. Case of poplar, inside lined with arabesque wallpaper, outside framed in blue upon a chalk base, stand of oak with turned legs.

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French Instruments

The case of the early instruments is of walnut, otherwise of lime or poplar, dark green or black, inside painted red. Keys of ebony and bone or bone upon pear respectively.

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Harpsichord

Two-manual French harpsichord after Jean Henri Hemsch (1756), 8', 4', 8', lute stop, compass: FF – f'''.

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Harpsichord

Two-manual French harpsichord after François-Etienne Blanchet (1765), compass: FF – f''', transposing 392 Hz, 415 Hz, 440 Hz, 8', 4', 8', lute stop. Case of lime wood, painted upon a chalk base, inside red, outside black with elaborate gilding, natural keys of ebony, key tops of bone on ebony. The instrument has a splendid Rococo stand with carved volutes and acanthus leaves. The sound board is decorated with an egg tempera painting of vines and flowers by Eva Thomas.

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