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Harpsichord building in England only achieved great distinction in the 18th century with the work of two immigrant makers, Jacob Kirckman (from Alsace) and Burkat Shudi (from Switzerland). The harpsichords by these builders have been described by the famous builder-scholar Frank Hubbard as "possibly the culmination of the harpsichord maker's ...
The Flemish instruments served as the model for 18th-century harpsichord construction in other nations. In France, the double keyboards were adapted to control different choirs of strings, making a more musically flexible instrument (so-called 'expressive doubles').
Note that the piano rapidly became popular at the end of the 18th century, and many builders at the time built both instruments, until the harpsichord effectively became extinct early in the 19th century. The top line shows composers from each era for orientation.
The harpsichord Shudi built for King George III. His harpsichords drew on the Flemish tradition, dominated by Ruckers, whose harpsichords had become extremely prized in the 18th century; he himself owned and hired out two Ruckers harpsichords. The usual specifications for his single-manual harpsichords was 8' 8' or 8' 8' 4' and for his double ...
Regarded as one of the most important French composers and music theorists of the 18th century, [1] he replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer of his time for the harpsichord, alongside François Couperin. [2] Little is known about Rameau's early years.
The Denis family were French harpsichord makers from the mid 16th century to the beginning of the 18th century, by which time the Blanchet family had superseded them as the main harpsichord building dynasty in Paris.
Kirkman harpsichord in Williamsburg. Charles Burney wrote a good deal about Jacob Kirkman, and Fanny Burney described him as 'the first harpsichord maker of the times'; he and Burkat Shudi dominated the production of English harpsichords in the second half of the 18th century, and many of their instruments survive today, though more than twice as many Kirkmans remain, leading Frank Hubbard to ...
They are noted for the richness of their decoration, with lacquered chinoiserie typical of Hamburg harpsichords, and most significantly, their 'matchless tone'. The harpsichord played by American singer-songwriter Tori Amos on her 1996 album Boys For Pele and the subsequent Dew Drop Inn Tour is a replica of the 1728 Christian Zell harpsichord ...