Two-manual Italian harpsichord after an anonymous model at the Germanic National Museum Nuremberg, early 17th century, 8′, 8′, 4′, compass C/E–c”’, pitch a’= 392 Hz, brass strings, the original instrument probably had iron strings with a high pitch of ca. 493 Hz.
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Early Renaissance clavicytherium after an anonymous model, probably Ulm around 1480, cherrywood body, soundboard of fine-grained Alpine spruce with three rosettes and goat’s parchment decoration, covered with gut strings, compass F-a”.
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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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Fretted Swiss clavichord after Johann Conrad Speisegger (Schaffhausen, 1725), double to 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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Two-manual harpsichord after Michael Mietke, Berlin, undated, probably after 1710, 8′,4′,8′, range FF–f”’, transposing 415, 440 Hertz, made entirely of walnut, painted ebony on the outside, natural wood finish on the inside.
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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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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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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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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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