Originally Posted by
george wilson
Alan,as I mentioned to you,harpsichords and clavichords were both originally built up from drawings made on the piece of wood that would become their bottoms. You said that I began my clavichord with a drawing on the bottom. I must take your word on that,as I have no recollection of doing that,(like in so many other projects!). It must have been before 1974 and my memory fades.
Is that instrument above gebunden or bund frei? I can make out the listing,but not the layout of the tangents. The listing ought to give me a clue,but it's been too long. I haven't thought about clavichords in a very long time.
On old instruments you can still see the maker's drawings,so my method must have been authentic. I do recall that I used a single large plank of pine upon which to build the clavichord. From the drawing I must then have employed the rule of 17.85(otherwise called the rule of 18),to lay out the positions of the tangents. From there,to lay out the crooked key levers,bizarre as they look,but quite functional.
I do recall that I used the feathers at the back of the key levers,fitting into the rack of narrow slits,to keep the keys from tipping or wandering sideways. As mentioned,I still have the wood printing block with which I printed the renaissance design. I still like the design I drew and carved out. Since,being left handed,I never played keyboard instruments,I doubt the block will ever grace another clavichord cabinet,or probably anything else.
Back in those days I did make several one off unusual projects that customers ordered: A Theorbo(for the New England Conservatory of Music,IIRC),an Orpharion for an excellent player visiting Williamsburg and working for the Summer(no pictures again,I was SO bad about that!) Here's a shot of the Theorbo,at least. Several lutes were also made.A baroque lion's head violin for the Concert Master of the Baltimore symphony,and so on. Instruments that would never actually have been made in Williamsburg in the 18th. C.. But,they made the shop much more interesting to the visitors,and challenged my mind a bit-the theorbo did! And,the clavichord must have also. I wish I could have remembered more about building it,but it has slipped through the widening mesh of my old brain,assisted in no small measure by pain pills!
As I rummaged through my pictures,some other unusual instruments,a few at least. I have no decent full views of a cittern I made for an artist. Completely out of joint with the 18th. C.,to say the least! Inspired by a cittern made for Arch Duke Ferdinand by Girolamo da Virchi in the 16th. C.. Now part of the Hapsburg treasures. He nearly bankrupted the country buying art. He hired at high wages the best craftsmen he could find,and had their quarters and work shops near his own,so he could visit them at work frequently,and marvel at how they accomplished their works. The peghead depicts Lucretia the Roman being swallowed into Hell while she takes a brief look over her pawns(the pegs). Polychromed and gold gilt as was the original. Considered gaudy today,but fit for a king back then. The peghead is boxwood. The hook on the back is to hang the instrument on a wall,as was commonly done at that time with citterns.
Then,the marquetry guitar I made for a well known actor/collector.
Curiously enough,at the time,when I was 29,making the reproduction of the Kirkman harpsichord in the Governor's Palace in Williamsburg,presented the most challenge. No one in the whole museum had ever veneered anything,me included. I made it through,though,by the required date. I still have the packet of veneer containing the beautiful,dark mahogany burls that the panels are made from. The finish is oil violin varnish,applied in many coats with an ox hair brush and rubbed to a piano finish that took many hours. This bad picture was taken by candle light by an apprentice on 400 speed film and made into a slide. Not a great shot. This instrument has been played so much that the ivory on several keys was worn out as of over 10 years ago. A real work horse indeed! We now have an excellent keyboard technician who may do some rebuilding on it now that I am retired. He has my blessing.
The theorbo may be seen that the neck is tilted somewhat. This is on purpose to help center the bridge on the top. Does make it look rather broken,though it is not. I can't recall HOW we packed this instrument for shipping to New England. It made it somehow.