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The New Grove musical dictionary summarizes the earliest historical traces of the harpsichord: "The earliest known reference to a harpsichord dates from 1397, when a jurist in Padua wrote that a certain Hermann Poll claimed to have invented an instrument called the 'clavicembalum'; [1] and the earliest known representation of a harpsichord is a sculpture (see below) in an altarpiece of 1425 ...
Tuning an instrument nowadays usually starts with setting an A; historically it would commence from a C or an F. The harpsichord uses the bass clef (F clef). Some modern instruments are built with keyboards that can shift sideways, allowing the player to align the mechanism with strings at either A = 415 Hz or A = 440 Hz.
History of the harpsichord, Edward L. Kottick, 2003, 1.ed., Indiana University Press Ruckers A harpsichord building tradition, Grant O´Brien, 1990, 1. ed., Cambridge University Press A Performer's Guide to Renaissance Music, Jeffery T. Kite-Powell , 2007, Indiana University Press
Musical Instruments and Their Decoration. Cincinnati, Ohio: Seven Hills Books,. ISBN 0-911403-17-5. Russell, Raymond (1973). The Harpsichord and Clavichord: An Introductory Study, 2nd ed. London: Faber and Faber. ISBN 0-571-04795-5. Yorke, James (1986). Keyboard Instruments at the Victoria and Albert Museum. London Victoria and Albert Museum.
Spinet by Zenti from 1637, now in the Musical Instrument Museum in Brussels. The angling of the strings also had consequences for tone quality: generally, it was not possible to make the plucking points as close to the nut as in a regular harpsichord. Thus spinets normally had a slightly different tone quality, with fewer higher harmonics ...
He was nominated as jurés of the instrument makers guild, but was not elected. Louis Denis (1635 - 1710) son of Jean II, survived by two harpsichords (1658 and 1677) and a spinet (1681). Philippe Denis (died 1705) son of Jean II, survived by one harpsichord and an ottavino. 'Pierre Denis II (1675-after 1705), son of Philippe
The instruments in the collection represent the five principal geographical areas or national schools of harpsichord-making – England, Flanders, France, the German-speaking world and the Italian peninsula – and more than two hundred years of the history of the craft.
A heavy-framed mid-century harpsichord by the Sperrhake firm. Such instruments were harshly criticized during the 1960s by Zuckermann, who described their sound as feeble and their appearance as tubby, a betrayal of the tradition of beauty seen in historical instruments.