Here are the traditions of harpsichord making as they might have
been taught to young apprentices in five countries where the craft
once flourished: Italy, Flanders, France, England, and Germany. The
period covered ranges from approximately 1500, when concrete data
became available, to 1800, after which the nature of the instrument
is no longer of musicological significance.
The author's aim is to "give enough information to make it
possible for builders of harpsichords to base their work on certain
knowledge of the designs and methods of earlier makers; to guide
players of the harpsichord in their search for appropriate
instruments, dispositions, and registrations in recreating the
music of the past; and to serve as a useful body of information for
historians and editors of early keyboard music."
A chapter each is devoted to the five most important schools of
harpsichord making. Over forty plates illustrate the most typical
harpsichords of each country. Each set of drawings includes a plan
drawn to scale, the interior of the instrument, and interesting
details of action and construction. These are supplemented by
reproductions of illustrations taken from early sources. The
appendixes contain texts of relevant documents, including
inventories of the shops of some prominent French makers and
contemporary descriptions of instruments.
Mr. Hubbard has drawn material from contemporary descriptions
of instruments and the mechanical arts such as those found in
encyclopedias, technical treatises, books on music theory, and
manuals for craftsmen. In addition he has examined hundreds of
instruments in European and American collections. His exceptional
position as aninternationally known harpsichord maker as well as a
student of harpsichord history allows him to discuss technical as
well as historical matters that would be outside the competence of
a musicologist.
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