Flanders Harpsichord 06

Flemish Harpsichord 06

Two-manual Flemish harpsichord after Johannes Ruckers (1624), petit ravalement, compass FF, GG, AA -d”’, 8′, 4′, 8′, lute stop, with Chinoiserie lid painting by Jessica Zappe and sound board painting by Eva Thomas.

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Photos: © Volker Platte (except as noted otherwise)

Flanders Harpsichord 05

Flemish Harpsichord 05

Single-manual harpsichord after Andreas Ruckers (1637), compass C/E–c”’, 8′, 4′, lute stop, pitch 415 Hz, with ”Batzen“ legs. Marbling and decoration painting by Eva Thomas.

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Flanders Harpsichord 04

Flemish Harpsichord 04

Two-manual Flemish harpsichord after Johannes Ruckers (1624), petit ravalement round 1700, 8′, 4′, 8′, lute stop, compass GG, AA–d”’, pitch: 440 Hz transposing to 415 Hz, with sound board painting (Eva Thomas) and lid painting (Volker Platte).

This instrument is available for concert hire upon request.

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Flanders Harpsichord 03

Flemish Harpsichord 03

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

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Photos: © Volker Platte (except as noted otherwise)

Flanders Harpsichord 02

Flemish Harpsichord 02

Two-manual Flemish harpsichord after Johannes Ruckers (1624), petit ravalement round 1700, 8′, 4′, 8′, lute stop, compass GG, AA–d”’, pitch 440 Hz transposing to 415 Hz.

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Photos: © Volker Platte (except as noted otherwise)

Flanders Harpsichord 01

Flemish Harpsichord 01

Two-manual 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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France Harpsichord 02

French Harpsichord 02

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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France Harpsichord 01

French Harpsichord 01

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

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French

Instruments

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.

Harpsichords

01 Two-manual French harpsichord after Jean Henri Hemsch (1756)

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02 Two-manual French harpsichord after François-Etienne Blanchet (1765)

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Photos: © Volker Platte (except as noted otherwise)

Italian

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.

Please click on one of the following links to jump to the particular instrument list:

Renaissance Harpsichords | Baroque Harpsichords | Spinets | Clavichords