recordings have been made over the span of a few decades as circumstances
have allowed. As recording technology has advanced so have
the quality of the captures represented here. The sound of
these recordings is very good, but I will be the first to admit that
it is not optimal - that was not my purpose. These recordings
document instruments I have made that have delighted me particularly.
Some recordings are long, some short but each is designed to
show off its subject's capabilities (see technical
note, below). Until the advent of the recordable CD, there
was no convenient way of disseminating all the information they contain.
each, $10.00 Postpaid in U.S., 3 for $20 Postpaid in U.S.
application, we will be happy to credit the cost of any relevant CD
($10) toward any subsequent purchase of a kit or finished instrument.
In other words, please don't trust us to remember – our
records aren't that good!
single-manual harpsichords á petit ravalement:
After A. Ruckers, Antwerp,1640 as adapted to an 18 th c.
range in England (?)
H. Moermans, Antwerp, 1588 as might have been adapted to
an 18 th c. range in France (also available as a kit).
music of Anon, O. Gibbons, J.K.F. Fischer, L. Couperin,
H. Purcell, J.S. Bach.
2001 (33' 20) For 1640 A. Ruckers, see also CDD-109
English Bentside Spinet after
Baker Harris, London, 1765 (also available as a
music of H. Purcell, G.P. Telemann and J.S. Bach.
Digital 2001 (10'
after Anon, ca 1600.
music of B. Storace, J.K. Kerll, J.S. Bach.
Digital 2001 (20' 35)
Mother and Child Virginals (Muselar and Spinet) after
the instruments and practices of the Ruckers family (also
available as kits).
music of A. Cabezon, P. Philips, J. Dowland, O. Gibbons,
H. Scheidemann, D. Buxtehude, H. Purcell, J.S. Bach.
1980 (31' 50) See also CDD-108
double-manual harpsichord after the instruments and
practices of Hieronymous Albrecht Hass, Hamburg, ca. 1740:
music of G.P. Telemann, C. Graupner, J.S. Bach, W.F. Bach.
Digital 2002 (70' 20)
Two kit-built French
double-manual harpsichords after the instruments and
practices of Pascal Taskin, ca. 1770 (also available as
music of L. Couperin, J.C. de Chambonnieres, J. Pachelbel,
J.K.F. Fischer, J.S. Bach, J. Duphly.
Digital 2003, 2004 (66' 16)
double-manual harpsichord after J.D.D. Dulcken, Antwerp,
music of Buxtehude, J.S. Bach.
Analog 1983 (12' 06)
th c. virginal (muselar) after the instruments and practices
of the Ruckers family (also available as a kit).
music of Anon, H. Scheidemann, J. Pachelbel.
2003 (21' 07) See also CDD-104a
17 th c. single-manual harpsichord after A. Ruckers,
Antwerp, 1640 (restored to original 45-note range &
music of Anon, G. Farnaby, J. Dowland, E. Johnson, J. P.
Sweelinck, G. Steenwick, H. Scheidemann, M. Schildt, D.
Buxtehude, J. Pachelbel.
2004 (45' 39) See also CDD-101
French 17 th c. double-manual harpsichord
after M. Richard, Paris, 1688.
is a grab-bag of different instruments in different venues
and does not belong to the larger project. The recording
setups are not necessarily coherent within the selections
or with the rest of the demonstration CD-Rs)
music of J.C. de Chambonnieres, (direct comparison of 3
instruments, stable setup, analog recording, 1975) E. Jacquet
de la Guerre (professionally engineered and produced session
in a room and on equipment I can only dream about, two microphone
placements, digital recording, 1998)
French 17 th c. double-manual harpsichord
after several original examples by Frank Hubbard.
This instrument was built as a shop group endeavor after
his death as an hommage.
program to include music of L. Couperin, E. Jacquet de la
Guerre, L. Marchand, F. Couperin.
th c. double-manual harpsichord after the instruments
and practices of Hieronymous Albrecht Hass, ca. 1730.
(This instrument has been much better recorded on the series
of Graupner discs performed by Genevieve Soly. This
recording is simply intended to provide a point of reference
between that series and our own.)
Note: Over the span of this project, I have endeavored to keep the microphone
placement relatively stable so that one may more easily discern the
essential differences between types even though recorded at different
times, in different rooms and with different equipment. For those
who are interested, the microphones' vantage point has been approximately
six feet (2 meters) from the middle of the 8' bridge and high enough
to have a direct view of the back of the 8' bridge.