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HPSCHD-L  November 1994

HPSCHD-L November 1994

Subject:

Harpsichord drawings list (long) (fwd)

From:

Michael Fitz <[log in to unmask]>

Reply-To:

Harpsichords and Related Topics <[log in to unmask]>

Date:

Wed, 30 Nov 1994 22:04:46 EST

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (558 lines)

>
> =====================
> HARPSICHORD DRAWINGS
> =====================
>
> Here is a list of plan drawings for harpsichords, clavichords, and early
> pianos offered by museums (and other sources) around the world. It is by
> no means complete.  I know I've probably missed a few places and
> mislabeled a few instruments; I am inviting all to suggest additions and
> changes.  Most of the places where I'm unsure are marked with a "(*)".
>
> After mulling things over a while, I decided that it would be good to
> also include descriptive things like compass, disposition, catalog
> numbers, etc. I've already begun these additions for a few of the
> entries in this list.
>
> --Mike Fitz       | [log in to unmask]
>                   | [log in to unmask]
>
> =========================================================================
>
> Revision History:
>    5-Oct-94   Initial document
>
>   14-Oct-94   Added Barnes data, compass & disposition data
>               where available, cosmetic changes, NOTES section.
>
>   21-Oct-94   Added Bates, Boston, Yale, Gemeentemuseum data,
>               CONTRIBUTORS Section.  More Cosmetic Changes.
>
>   29-Nov-94   Added catalog, disposition data where known.
>
> =========================================================================
>
> NOTE:  It cannot be overemphasized to the prospective harpsichord
> do-it-yourselfer that most museum drawings generally only reflect the
> CURRENT OR PRESERVED STATE OF THE INSTRUMENT.  It is not incumbent upon
> the museum or the researcher who executed the drawing to presuppose the
> original state of the instrument.  Museum drawings usually do not
> provide complete enough information to build an instrument; some
> understanding of harpsichord building is assumed.
>
> DIY'ers in need of real working drawings would be wise to contact R.K.
> Lee, who produces several drawing packages that are based on historical
> instruments.  He can provide these drawings on dimensionally stable
> media.
>
>
> Unless otherwise indicated, the drawings below are of instruments in
> current or preserved state.
>
> ITALIAN SCHOOL
> ---------------
> Single-manual Harpsichords
>
>    Anonymous 1693, #326,904 SMI
>      GG-c3 no GG#, 8'8' handstops
>
>    Johannes Perticis 1681(?) (Private Collection) RKL
>      C/E-c3, 8'8'
>
>    Giovanni Baffo, Venice 1574, #6007-1859 VAL
>      GG/BB-c3 8'8' was C/E-f3 8'4'
>
>    Jerome of Bologna("Hieronymus Bonosiensis"), Rome 1521, #226-1879 VAL
>      C/E-c3, 8'8'; was probably F-f3, 8'
>
>    Alessandro Trasuntino 1531,  #2, RCM
>      GG/BB-c3, 8'8'; was C/E-f3, 8'4'
>
>    Anonymous c.1575,  #175, RCM
>      C-d3 (no C#), 8'8'; was C/E-c3, 8'
>
>    J. Salodiensis, Venice 1559, #630, KHM
>
>    Octave-Harpsichord, Anonymous ca.1650, #MINe 50, GNM
>      c/e-c4, 4'4'
>
>    G. B. Giusti, Lucca 1681, #MINe 78, GNM
>      C/E-c3, 8'8'(false inner-outer)
>
>    Carlo Grimaldi, Messina 1697, #MIR 1075, GNM
>      GG-c3, 8'8'
>
>    Roberto and Frederigo Cresci, Livorno 1778, #MIR 1077, GNM
>      FF-g3 no FF#
>
>    Clavemusicum omnitonum (31 div/octave), V. de Trasuntini, Venice 1606
>      C-c3, 8' (Museo Civico Medievale Bologna #1766/1767), GNM
>
>    Gregori 172(?)6, JBA
>      (Owned Barnes, drawn Edward Turner)
>
>    Anonymous ca. 1650, MFB
>
>    Giovanni Celestini, Venice 1605, HGM
>
>    Giacomo Ridolfi, 1665, #332,173 SMI
>      C/E-c3 8'8' (Shortridge article; 1/8 scale)
>
>
>
> Two-Manual Harpsichords
>
>    Anonymous 17th. C., #MIR 1078, GNM
>      C/E-c3, 4'/8'8'
>
>
> Virginals
>
>    Arpicordo, Johannes Perticis 1681, (private collection) RKL
>
>    Arpicordo, Anonymous, Venice c.1570, #19-1887, VAL
>      GG/BB-c3, was C-d3 no C#, was C/E-f3 ("Queen Elizabeth's")
>
>    Spinetta, Domenicus Pisaurensis, Venice 1540, MIR 1081, GNM
>
>    Arpicordo, Anonymous 17th C. #303,544 SMI
>      C/E-f3 (Shortridge article; 1/8 scale)
>
>
> Spinets
>
>    B. Floriani 1571, #33  LEI
>
>    Ottavino, Anonymous ca.16-17th C., #121, KHM
>
>
> Clavichords
>
>    Fretted, Onesto Tosi (attributed), Genoa 1568, MFB
>
>
>
> FLEMISH SCHOOL
> ---------------
> Single-Manual Harpsichords
>
>    Andreas Ruckers, Antwerp 1644, #VH 2137, VLE
>      C-c3 8'8' was C/E-c3 8'4' (Boalch #112)
>
>    Jan Couchet, Antwerp 1645, #7, RUS (Original State)
>      C-c3 8'4', was AA-f3 8'8'4', was C/E-c3, 8'4'
>      Drawn by Edward Turner
>
>    Andreas Ruckers, Antwerp 1637, #MIR 1073, GNM
>      C/E-c3, 8'4' (Boalch #105)
>
>    J.D. Dulcken, ca. 1740, JBA
>      (Boalch #12)
>      (Owned Barnes, drawn by Richard Ireland & William Bright)
>
>    Andreas Ruckers, Antwerp 1640, #4878.60, YUC
>      C-d3 was C/E-c3 8'4' (Boalch #109)
>
>    Andreas Ruckers, Antwerp 1639, #EC544-1933, HGM
>      C/E-c3 8'4' was GG-d3 8'8'4' was C/E-c3 8'4' (Boalch #108)
>
>    Folding Harpsichord, Rijk van Arkel, Gouda 1768 HGM
>
>
>
> Double-manual Harpsichords
>
>    J. D. Dulcken 1745, #315,758, SMI
>      FF-f3, 8'/4'8', lute
>
>    J. D. Dulcken 1755, #M1608 CRM
>      Drawn by Jean Tournay
>
>    J. D. Dulcken 1747, VLE
>
>    J. van den Elsche 1763, VLE
>
>    J. P. Bull 1779, VLE
>
>    Transposing, I. Ruckers, Antwerp 1638, #6, RUS
>      (Boalch #61) Drawn by Edward Turner
>
>    Petrus or Joseph Couchet, Antwerp 1680, MFB
>      (was a single, turned into double by Blanchet, 1758; modified by
>       Taskin, 1781 (Fourth register) )
>      FF-f3 8'/4'8' shove coupler, p.d.b. was probably FF, GG, AA-d3
> 8'8'(?)
>
>
> Virginals (6-voet unless otherwise indicated)
>
>    Spinett, Quint-pitch, (4-voet) A. Ruckers, Antwerp 1620, #303,543 SMI
>      C/E-c3, (Boalch #85)
>
>    Muselar, Andreas Ruckers, Antwerp 1620, #M1597, CRM
>      C-c3, was C/E-c3 (also available from RUS) (Boalch #86)
>      drawn by Kurt and Susanne Wittmayer 1982
>
>    Child (2-voet), Andreas Ruckers, Antwerp c. 1626, #S2623, CRM
>      C,D-c3 was C/E-c3 4'
>      Drawn by Geert Vermeiren
>
>    Muselar, Jan Couchet, Antwerp 1650, #VH67.6, VLE
>      C/E-c3 (Boalch #9)
>
>    Spinett, Cornelius Hagaerts ca. 1630,  VLE
>
>    Spinett, Quart-pitch (4-1/2 voet), I. Ruckers, Antwerp 1629
>      (Brussels #2511), RUS
>      C/E-d3 (Boalch #49)
>      Drawn by Edward Turner
>
>    Spinett, Artus Gheerdinck, Amsterdam 1605, #MINe 95, GNM
>
>    Muselar,(5-voet) Andreas Ruckers, Antwerp 1643, HGM
>      C-c3, was C/E-c3, (Boalch #111)
>
>
> FRENCH SCHOOL
> -------------
> Single-manual harpsichords
>
>    Clavicytherium, Albert Delin, Tournai 18th C., RKL
>      GG-g3 (extended from e3), 8' 8'
>
>    Clavicytherium, Albert Delin, Tournai 1760, HGM
>
>    Traveling Harpsichord, J. Marius 1713, #83 LEI
>
>
> Double-Manual Harpsichords
>
>    Benoist Stehlin, Paris 1760, #66.521 SMI
>      FF-f3 8'/4'8', shove coupler, buff
>
>    Jean-Antoine Vaudry, Paris 1681, #W12-1974, VAL
>      GG/BB-c3, 8'/4'8', shove coupler
>
>    Pascal Taskin, Paris 1769, #15, RUS
>      FF-f3 8'/4'8' shove coupler
>      Drawn by Grant O'Brien
>
>    Goermans / Taskin 1764/1783, #29, RUS
>      FF-f3, 8'/4'8' p.d.b., knee levers
>
>    Henri Hemsch, Paris 1736(?), MFB
>
>    Anonymous, 1667, MFB
>
>    Joannes Goermans, Paris 1750, BCO
>
>
> Spinets
>
>    Albert Delin 1770, #M273, CRM
>      Drawn by Jean Tournay & Veronique DeWilde
>
>
> ENGLISH SCHOOL
> ---------------
> Single-manual Harpsichords
>
>    William Smith, London 1720, BCO
>
>
> Double-manual harpsichords
>
>    Thomas Hitchcock, London 1725, #126-1890, VAL
>      GG-g3 8'/8'4' lute, dogleg
>      (Earliest extant English double; mentioned in Hubbard)
>
>    Jacob and Abraham Kirckman, London 1786, JBA
>      (Boalch #74) (owned Barnes, drawn Richard Ireland)
>
>
> Spinets
>
>    Thomas Hitchcock, London ca.1710, #62.382  SMI
>      GG-g3
>
>    Anonymous 1708, #3, RCM
>      GG/BB-d3, split sharps in bass
>
>    Thomas Hitchcock, London ca.1730, #10, RUS
>      Drawn by John Raymond
>
>    Keene and Brackley, London, c1715, JBA
>      (Boalch #22) (Owned Barnes, drawn by Richard Ireland, John and
>      Sheila Barnes) (These drawings are the companions to Barnes'
>      book "Making A Spinet by Traditional Methods")
>
>
>
> Virginals
>
>    Thomas White, London 1642, #W11-1933, VAL
>      C-c3
>
>    S. Keene 1668, #8, RUS
>      FF-d3, no FF#
>      Drawn by Edward Turner
>
>
> Pianos
>
>    Square, Johannes Pohlemann, London 1773, #OPH158-1949, VAL
>      FF-f3, buff stop, Zumpe ("English") action
>
>
> GERMAN SCHOOL
> --------------
> (includes Austrian)
>
> Single-manual Harpsichords
>
>    Clavicytherium, Anonymous ca.1480, #1, RCM
>      E-g2, 8'(?) was E, E#, F, G-g2, drawn by William Debenham
>      (presumed original condition)
>
>    Clavicytherium, Anonymous 17th C., #MIR 1080, GNM
>      C/E-f3, 8',4',8' (Action Only)
>
>    Christian Vater, Hannover 1738, #MI 449, GNM
>      GG/BB-e3, 8'8'
>
>
> Fretted Clavichords
>
>    Anonymous 18th C.  #60.1394  SMI
>
>    Anonymous ca.1700, #21, RUS
>      C/E-c3, triple fretted
>
>    Anonymous ca.1735, #MIR 1047, GNM
>      C-c3, hexagonal
>
>    Christian Gottlob Hubert, Ansbach 1789, #MIR 1058, GNM
>      C-g3
>
>    Anonymous 18th C. #89.4.1215, MMA
>
>    Christian Gottlob Hubert, Ansbach 1784, JBA
>      (Boalch #11)(Owned Russell Collection, drawn Richard Loucks when
>      privately held previously by Sir Donald Tovey) (double fretted
>      except for A's and D's)
>
>    Anonymous, German or Flemish ca. 1620,  JBA
>      a "gemein" clavichord as illustrated by Praetorius. Triple fretted.
>      (Owned Dr Roger Mirrey, London)
>
>    Anonymous 17th C.  YUC
>      Inscribed "D. O. M. 1652"
>
>    Anonymous, ca. 1780 "#1" HGM
>
>    Anonymous, ca. 1780 "#2" HGM
>
>
>
>
> Unfretted Clavichords
>
>    Barthold Fritz, Brunswick 1751, #339-1882, VAL
>      FF-a3, 4' strings in bass
>
>    J. J. Donat 1700,  #12  LEI
>
>    G. Silbermann ca.1740,  LEI
>
>    Anton Roemer, Graz 1774, #740, KHM
>
>    Anonymous, Austria ca. 1750, #817, KHM
>
>    J. A. Hass, Hamburg 1763, #22, RUS
>      FF-f3, 4' strings in bass
>      Drawn by Richard Loucks
>
>    J. H. Silbermann, Strassburg ca.1770, #MIR 1061, GNM
>      FF-f3
>
>    Johann Adolf Hass, Hamburg 1761, JBA
>      (Boalch #17) (Owned Christopher Hogwood, drawn Christopher Clarke,
>      revised John and Sheila Barnes)
>
>    (*) Jean Antrie Stein, Augsburg 1787, HGM
>
>    J. C. G. Schiedmayer, Neustadt 1796, MFB
>
>
>
> Pianos
>
>    Grand, J. L. Dulcken 1790,  #303,537  SMI
>
>    Hammerfluegel, G. Silbermann, Freiberg 1749, #MI 86, GNM
>      FF-e3
>
>    Hammerfluegel, A. Walter, Vienna ca.1795, #MINe 109, GNM
>      FF-g3
>
>    Hammerfluegel, J. D. Schiedmayer, Erlangen 1794, #MIR 1102, GNM
>      FF-f3
>
>    Hammerfluegel, Johann Schmidt, Salzburg 1790, MINe 100, GNM
>      (Action only)
>
>
>
> Virginals & Spinets
>
>    Ottavino, J. Gellinger 1677, #52  LEI
>
>    Virginal, Anonymous 17th C., #49 LEI
>
>    Spinet, J. H. Silbermann, Strassburg 1767, #MINe 90, GNM
>      FF-c3
>
>
>
> MUSEUM & SOURCE KEY
> ===================
>
> SMI- National Museum of American History
>      Division of Musical Instruments
>      Smithsonian Institution
>      Washington D.C.  20560
>
> VAL- Victoria & Albert Museum
>      V&A Enterprises Ltd.
>      Cromwell Road
>      South Kensington
>      London, SW7 2RL
>      England, UK
>
> RCM- Museum of Instruments
>      Royal College of Music
>      Prince Consort Road
>      South Kensington
>      London, SW7 2BS
>      England, UK
>
> LEI- Universitaet Leipzig
>      Musikinstrumenten-Museum
>      Taeubchenweg 2c
>      Leipzig 7010, Germany
>
> VLE- Museum Vleeshuis
>      Vleeshouwersstraat 40
>      B-2000
>      Antwerp, Belgium
>
> CRM- Conservatoire Royale de Musique
>      Musee Instrumental
>      17, Petit-Sablon
>      Bruxelles, Belgium
>
> KHM- Kunsthistorisches Museum
>      Sammlung Alter Musikinstrumente
>      A-1010 Wien, Neue Berg
>      Republic of Austria
>
> RUS- The Russell Collection of Early Keyboard Instruments
>      University of Edinburgh
>      St. Cecilia's Hall,
>      Cowgate,
>      Edinburgh EH1 1LJ
>      Scotland UK
>
> GNM- Germanisches Nationalmuseum
>      Postfach 9580
>      D-8500 Nuernberg 11
>      Germany
>
> MMA- Metropolitan Museum of Art
>      Department of Musical Instruments
>      Fifth Avenue at 82nd Street
>      New York, NY 10028
>
> HGM- Haags Gementemuseum
>      Stadhouderslaan
>      P. O. Box 72
>      2501 CB
>      The Hague
>      Netherlands
>
> MFB- Museum of Fine Arts Boston
>      465 Huntington Avenue
>      Boston, Massachusetts 02115
>
> YUC- Yale University Collection of Musical Instruments
>      15 Hillhouse Avenue
>      P. O. Box 2117 Yale Station
>      New Haven, Connecticut 06520
>
> BCO- Bate Collection of Musical Instruments
>      Oxford University
>      Oxford OX1 1DB
>      England UK
>
> RKL- R. K. Lee
>      353 School St.
>      Watertown, Massachusetts 02172
>
> JBA- John Barnes
>      3 East Castle Road
>      Edinburgh EH10 5AP
>      Scotland UK
>
> =================================================================
>
> NOTES
> =====
>
>    Most drawing packages from the Russell Collection and the V & A
> include photographs.
>
>    The V & A is currently the only museum that accepts plastic as
> payment for plan drawings.  You can order and pay for plans at the main
> gift-shop, but you must have them shipped home.
>
>    The Division of Musical Instruments at the Smithsonian will not deal
> with you in person for plans.  When you visit the museum they will
> gladly come out and hand you the list of plans and photos and ordering
> information; however they require that all transactions be made through
> the mail.
>
>    Most of the plan drawings published by The Royal College of Music are
> for the presumed original state of the instruments, from which the
> museum hopes people will undertake to build copies.  The museum sells
> photographs to illustrate the preserved state. Preserved state
> drawings have been made of some of the instruments; these drawings are
> available for view at the museum office.
>
>    I have also included in this list the two instruments from John
> Shortridge's monograph that are drawn to scale in plan view.  This
> document is out of print, but should be available from most large
> libraries.
>
>    I have placed anything by Delin in the "French" section; I know that
> Tournai, where he worked, was in Flanders, but his instruments are more
> French than Flemish.
>
>    I have left French ravalements of Flemish instruments in the
> "Flemish" section.
>
>    On my recent visit to the Russell Collection, I noticed a new plan
> being drawn up for one of the early English single-manual harpsichords.
> Unfortunately, I don't remenber which it was.  If anyone has any
> late-breaking news on the availability of this drawing, please tell me.
>
>
> CONTRIBUTORS
> =============
>
> Rob Potter ([log in to unmask])
> Peter S. O'Donnell ([log in to unmask])
>
>
>
>
>

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