Home
Original
French
harpsichords
of
the
17th
century
are
rare.
Lefebvre's
instrument
is
one
of
only
about
five
single
manual
French
harpsichords
known
to
have
survived
from
this
period.
Other
double
manual
instruments
are
known
but
even
this
list
is
relatively
short.
However
those
that
have
survived
evidently
belong
to
an
early
indigenous
school
of
harpsichord
building.
They
were
markedly
different
in
many
aspects
of
their
design
and
construction
to
the
instruments
of
Blanchet
and
Hemch
that
became
established
in
a
national
style
at
the
beginning
of
the
18th
century.
These
early
French
harpsichords
show
constructional
details
similar
to
those
of
both
the
Italian
and
Flemish
schools
of
instrument
building.
They
are
noted
for
their
light
and
responsive
keyboards
with
naturals
covered
usually
with
ebony
and
the
sharps
of
either
bone
or
ivory.
On
this
instrument
a
trefoil
motif
is
carved
directly
into
the
ends
of
the
key
levers.At
each
end
of
the
keyboard
the
blocks
have
a
scrolled
top
surface
reminiscent
of
Italian
work
and
the
removable
name-
board
drops
from
the
level
of
the
sides
in
a
decorative
scroll
to
just
above
the
wrest
plank.
The
soundboards
of
these
early
instruments
were
almost
always
decorated
with
flowers
and
butterflies
etc.
and
the
soundhole
fitted
This instrument
is based on a French harpsichord
made by Anton Lefebvre who worked
in Paris c.1680.
with a pierced parchment rose.
Specification:
Compass:
GG
-
d"'
Disposition:
2
x
8,
Strung
throughout
in
brass.
Pitch:
a'=
415Hz.
Dimensions:
1915mm
x
800mm
x
190mm
(850mm
high
with
stand).
The
version
featured
here
with
decorated
soundboard,
turned
stand
and
painted
case
with
gold
bands
is
£9
850.
The
instrument
is
supplied
complete
with
separate folding music desk and tuning lever.
The French Harpsichord
Instruments
of
the
Ruckers
family
were
built
over
a
period
of
approximately
100yrs.
From
Hans
Ruckers,
the
founder,
to
his
sons
Andreas
and
Ioannas
and
their
nephew
Ioannas Couchet.
Throughout
this
time
they
maintained
a
consistency
of
design
and
quality
that
was
to
have
a
profound
and
far
reaching
influence
on
many
of
the
makers
of
northern
Europe.
In
France
they
were
especially
prized
and
makers
would
often
copy
the
Ruckers
harpsichords
including
name
and
decorative
rose
in
an
effort
to
satisfy
demand
for
the
Flemish
product.
Such
was
the
high
regard
placed
on
the
originals
that
as
musical
tastes
and
requirements
changed
these
instruments
were
rebuilt
in
a
process
known
as,
"ravalement";.
All
the
essential
components
were
reused
in
the
new
instrument
including
the
most
valuable
part,
the
soundboard.
The
main
reason
for
the
rebuilding
was
to
increase
the
compass
of
the
keyboard.
The
instrument
shown
here
is
based
on
a
harpsichord
that
underwent
this
process
in
the
early
18th
century,
the
Ioannas
Couchet
1645
single
manual
harpsichord
in
the
Russell
Collection
in
Edinburgh.
It
has
been
given
a
"petit
ravalement"
making
the
compass
C
-
c"'
and
is
available
with
various
dispositions.
It
is
decorated
with
plain
colours
on
the
inside
and
a
contrasting
colour
outside
with
bands
of
gold
leaf
as
might
have
been
found
on
this
type
of
instrument
after
ravalement
in
mid
18th
century
France.
Images to follow.
Specification:
Compass:
C
-
c''',
GG
–
d’’’
Transposing
392Hz,
415Hz,
440Hz.
Dispositions:
1
x
8,
1
x
4
or
2
x
8,
1
x
4
or
2
x
8.
Strung
with brass and Iron
Pitch:
a' = 415Hz
Dimensions:
1990mm x 650mm x 220mm
The Flemish Harpsichord
The Italian Harpsichord Early 16th C.
This
harpsichord
is
based
on
the
anonymous
Neapolitan
instrument
in
the
Museum
of
Fine
Art,
Boston
which
is
thought
to
date
from
about
1550.
It
is
one
of
the
few
Italian
harpsichords
that
can
be
positively
identified
as
having
had
an
original
disposition
of
1x8
1x4,
which
was
not
uncommon
in
the
early
period
of
Italian
harpsichord
building.An
unusual
feature
is
the
soundboard
which
is
made
of
maple
(European
sycamore)
rather
than
the
more
usual
cypress.
It
also
has
a
feature
possibly
derived
from
the
15th
century
where
the
baseboard
is
raised
about
7mm.
above
the
level
of
the
sides
of
the
instrument
so
that
it
is
free
to
resonate.
Research
by
John
Koster
and
others
has
revealed
that
this
harpsichord
is
possibly
related
to
others
that
have
a
similar
baseboard
arrangement
and
also
originate
from
the
Naples
area.
For
the
instrument
that
I
offer
the
original
design
has
been
closely
followed
including
the
maple
soundboard
with
minimal
barring
and
raised
baseboard.The
internal
components
are
made
from
pine
and
lime
with
numerous
supporting
knees
making
an
inner
frame
that
is
both
light
and
strong.
It
produces
a
beautifully
rich
bass
with
an
almost
bell
like
treble
and
four
foot
register.
The
sides
are
also
made
of
sycamore
with
finely
detailed
moulding
profiles,
the
rose
is
pearwood
with
layers
of
parchment.
Keyboard
and
action
are
of
beechwood
in
the
Italian
manner
with
traditional
box
slides.
Jacks
are
also
beechwood
fitted
with
Delrin
plectra.
Boxwood
is
used
for
the
natural
keys
and
arcades
and
the
sharps
are
pearwood
topped
with
ebony.
The
instrument
can
be
supplied
painted
or
in
natural
maple
with
an
oiled
finish.
An
outer
case
is
also
available
with
matching
turned
stand
or
the
instrument
can
be
constructed,
false
inner-outer.
A
detailed
description
of
the
original
instrument
is
given
in,
"Keyboard
Musical
Instrument
in
the
Museum of Fine Art, Boston", by John Koster.
Specification:
Compass:
C/E-c’’’ short octave (as original) or C – c’’’
Disposition:
1 x 8, 1 x 4. Strung throughout in brass
Pitch:
a' = 415Hz.
Dimensions:
1940 x 685mm.
©2019 Carl Rennoldson BSc.
Home
Original
French
harpsichords
of
the
17th
century
are
rare.
Lefebvre's
instrument
is
one
of
only
about
five
single
manual
French
harpsichords
known
to
have
survived
from
this
period.
Other
double
manual
instruments
are
known
but
even
this
list
is
relatively
short.
However
those
that
have
survived
evidently
belong
to
an
early
indigenous
school
of
harpsichord
building.
They
were
markedly
different
in
many
aspects
of
their
design
and
construction
to
the
instruments
of
Blanchet
and
Hemch
that
became
established
in
a
national
style
at
the
beginning
of
the
18th
century.
These
early
French
harpsichords
show
constructional
details
similar
to
those
of
both
the
Italian
and
Flemish
schools
of
instrument
building.
They
are
noted
for
their
light
and
responsive
keyboards
with
naturals
covered
usually
with
ebony
and
the
sharps
of
either
bone
or
ivory.
On
this
instrument
a
trefoil
motif
is
carved
directly
into
the
ends
of
the
key
levers.At
each
end
of
the
keyboard
the
blocks
have
a
scrolled
top
surface
reminiscent
of
Italian
work
and
the
removable
name-
board
drops
from
the
level
of
the
sides
in
a
decorative
scroll
to
just
above
the
wrest
plank.
The
soundboards
of
these
early
instruments
were
almost
always
decorated
with
flowers
and
butterflies
etc.
and
the
soundhole
fitted
This instrument
is based on a French harpsichord
made by Anton Lefebvre who worked
in Paris c.1680.
with a pierced parchment rose.
Specification:
Compass:
GG
-
d"'
Disposition:
2
x
8,
Strung
throughout
in
brass.
Pitch:
a'=
415Hz.
Dimensions:
1915mm
x
800mm
x
190mm
(850mm
high
with
stand).
The
version
featured
here
with
decorated
soundboard,
turned
stand
and
painted
case
with
gold
bands
is
£9
850.
The
instrument
is
supplied
complete
with
separate folding music desk and tuning lever.
The French Harpsichord
Instruments
of
the
Ruckers
family
were
built
over
a
period
of
approximately
100yrs.
From
Hans
Ruckers,
the
founder,
to
his
sons
Andreas
and
Ioannas
and
their
nephew
Ioannas Couchet.
Throughout
this
time
they
maintained
a
consistency
of
design
and
quality
that
was
to
have
a
profound
and
far
reaching
influence
on
many
of
the
makers
of
northern
Europe.
In
France
they
were
especially
prized
and
makers
would
often
copy
the
Ruckers
harpsichords
including
name
and
decorative
rose
in
an
effort
to
satisfy
demand
for
the
Flemish
product.
Such
was
the
high
regard
placed
on
the
originals
that
as
musical
tastes
and
requirements
changed
these
instruments
were
rebuilt
in
a
process
known
as,
"ravalement";.
All
the
essential
components
were
reused
in
the
new
instrument
including
the
most
valuable
part,
the
soundboard.
The
main
reason
for
the
rebuilding
was
to
increase
the
compass
of
the
keyboard.
The
instrument
shown
here
is
based
on
a
harpsichord
that
underwent
this
process
in
the
early
18th
century,
the
Ioannas
Couchet
1645
single
manual
harpsichord
in
the
Russell
Collection
in
Edinburgh.
It
has
been
given
a
"petit
ravalement"
making
the
compass
C
-
c"'
and
is
available
with
various
dispositions.
It
is
decorated
with
plain
colours
on
the
inside
and
a
contrasting
colour
outside
with
bands
of
gold
leaf
as
might
have
been
found
on
this
type
of
instrument
after
ravalement
in
mid
18th
century
France.
Images to follow.
Specification:
Compass:
C
-
c''',
GG
–
d’’’
Transposing
392Hz,
415Hz,
440Hz.
Dispositions:
1
x
8,
1
x
4
or
2
x
8,
1
x
4
or
2
x
8.
Strung
with brass and Iron
Pitch:
a' = 415Hz
Dimensions:
1990mm x 650mm x 220mm
The Flemish Harpsichord
The Italian Harpsichord Early 16th C.
This
harpsichord
is
based
on
the
anonymous
Neapolitan
instrument
in
the
Museum
of
Fine
Art,
Boston
which
is
thought
to
date
from
about
1550.
It
is
one
of
the
few
Italian
harpsichords
that
can
be
positively
identified
as
having
had
an
original
disposition
of
1x8
1x4,
which
was
not
uncommon
in
the
early
period
of
Italian
harpsichord
building.An
unusual
feature
is
the
soundboard
which
is
made
of
maple
(European
sycamore)
rather
than
the
more
usual
cypress.
It
also
has
a
feature
possibly
derived
from
the
15th
century
where
the
baseboard
is
raised
about
7mm.
above
the
level
of
the
sides
of
the
instrument
so
that
it
is
free
to
resonate.
Research
by
John
Koster
and
others
has
revealed
that
this
harpsichord
is
possibly
related
to
others
that
have
a
similar
baseboard
arrangement
and
also
originate
from
the
Naples
area.
For
the
instrument
that
I
offer
the
original
design
has
been
closely
followed
including
the
maple
soundboard
with
minimal
barring
and
raised
baseboard.The
internal
components
are
made
from
pine
and
lime
with
numerous
supporting
knees
making
an
inner
frame
that
is
both
light
and
strong.
It
produces
a
beautifully
rich
bass
with
an
almost
bell
like
treble
and
four
foot
register.
The
sides
are
also
made
of
sycamore
with
finely
detailed
moulding
profiles,
the
rose
is
pearwood
with
layers
of
parchment.
Keyboard
and
action
are
of
beechwood
in
the
Italian
manner
with
traditional
box
slides.
Jacks
are
also
beechwood
fitted
with
Delrin
plectra.
Boxwood
is
used
for
the
natural
keys
and
arcades
and
the
sharps
are
pearwood
topped
with
ebony.
The
instrument
can
be
supplied
painted
or
in
natural
maple
with
an
oiled
finish.
An
outer
case
is
also
available
with
matching
turned
stand
or
the
instrument
can
be
constructed,
false
inner-outer.
A
detailed
description
of
the
original
instrument
is
given
in,
"Keyboard
Musical
Instrument
in
the
Museum of Fine Art, Boston", by John Koster.
Specification:
Compass:
C/E-c’’’ short octave (as original) or C – c’’’
Disposition:
1 x 8, 1 x 4. Strung throughout in brass
Pitch:
a' = 415Hz.
Dimensions:
1940 x 685mm.
©2019 Carl Rennoldson BSc.