> [log in to unmask] writes:
>
> Further, since most of these Messiah gigs are not so well rehearsed, the
>  singers and instrumentalists often rely on hearing the harpsichord's attack
> to keep them together.
 
The key here is that the harpsichord must be of a kind that lends itself
to continuo. It must have enough chiff and fundamental so that singers
and strings players can hear the beat _and_ the pitch. For example, a
French double, no matter how fine an instrument, usually does not do
well in an orchestral environment. On the other hand, a good, bright
Flemish will usually do quite well, but even better is a good Italian
instrument.
(I know, here I go again.)
 
David Jensen
Harpsichord Maker
http://www.escape.ca/~djensen/