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These
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.
But now...
Price
each, $10.00 Postpaid in U.S., 3 for $20 Postpaid in U.S.
Upon
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!
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CDD-101
Two Flemish
single-manual harpsichords á petit ravalement:
After A. Ruckers, Antwerp,1640 as adapted to an 18 th c.
range in England (?)
After
H. Moermans, Antwerp, 1588 as might have been adapted to
an 18 th c. range in France (also available as a kit).
Program:
music of Anon, O. Gibbons, J.K.F. Fischer, L. Couperin,
H. Purcell, J.S. Bach.
Digital
2001 (33' 20) For 1640 A. Ruckers, see also CDD-109
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CDD-102
English Bentside Spinet after
Baker Harris, London, 1765 (also available as a
kit):
Program:
music of H. Purcell, G.P. Telemann and J.S. Bach.
Digital 2001 (10'
40)
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CDD-103
Italian harpsichord
after Anon, ca 1600.
Program:
music of B. Storace, J.K. Kerll, J.S. Bach.
Digital 2001 (20' 35)
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CDD-104a
Two Flemish
Mother and Child Virginals (Muselar and Spinet) after
the instruments and practices of the Ruckers family (also
available as kits).
Program:
music of A. Cabezon, P. Philips, J. Dowland, O. Gibbons,
H. Scheidemann, D. Buxtehude, H. Purcell, J.S. Bach.
Analog
1980 (31' 50) See also CDD-108
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CDD-105
Large German
double-manual harpsichord after the instruments and
practices of Hieronymous Albrecht Hass, Hamburg, ca. 1740:
Program:
music of G.P. Telemann, C. Graupner, J.S. Bach, W.F. Bach.
Digital 2002 (70' 20)
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CDD-106
Two kit-built French
double-manual harpsichords after the instruments and
practices of Pascal Taskin, ca. 1770 (also available as
a kit).
Program:
music of L. Couperin, J.C. de Chambonnieres, J. Pachelbel,
J.K.F. Fischer, J.S. Bach, J. Duphly.
Digital 2003, 2004 (66' 16)
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CDD-107a
Flemish
double-manual harpsichord after J.D.D. Dulcken, Antwerp,
ca. 1750:
Program:
music of Buxtehude, J.S. Bach.
Analog 1983 (12' 06)
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CDD-108
Flemish 17
th c. virginal (muselar) after the instruments and practices
of the Ruckers family (also available as a kit).
Program:
music of Anon, H. Scheidemann, J. Pachelbel.
Digital,
2003 (21' 07) See also CDD-104a
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CDD-109
Flemish
17 th c. single-manual harpsichord after A. Ruckers,
Antwerp, 1640 (restored to original 45-note range &
disposition).
Program:
music of Anon, G. Farnaby, J. Dowland, E. Johnson, J. P.
Sweelinck, G. Steenwick, H. Scheidemann, M. Schildt, D.
Buxtehude, J. Pachelbel.
Digital,
2004 (45' 39) See also CDD-101
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CDD-110
French 17 th c. double-manual harpsichord
after M. Richard, Paris, 1688.
(This
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)
Program:
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)
(timing)
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CDD-111
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.
Projected
program to include music of L. Couperin, E. Jacquet de la
Guerre, L. Marchand, F. Couperin.
In preparation
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CDD-112
German 18
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.)
In
preparation
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Technical
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.
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