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    Italian Harpsichord-Building in the 16th and 17th Centuries
    Italian Harpsichord-Building in the 16th and 17th Centuries
    Italian Harpsichord-Building in the 16th and 17th Centuries
    Ebook50 pages30 minutes

    Italian Harpsichord-Building in the 16th and 17th Centuries

    By John D. Shortridge

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 25, 2013
    Italian Harpsichord-Building in the 16th and 17th Centuries

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      Book preview

      Italian Harpsichord-Building in the 16th and 17th Centuries - John D. Shortridge

      The Project Gutenberg EBook of Italian Harpsichord-Building in the 16th

      and 17th Centuries, by John D. Shortridge

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: Italian Harpsichord-Building in the 16th and 17th Centuries

      Author: John D. Shortridge

      Release Date: November 4, 2008 [EBook #27149]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK ITALIAN HARPSICHORD-BUILDING ***

      Produced by Chris Curnow, Joseph Cooper, Greg Bergquist

      and the Online Distributed Proofreading Team at

      http://www.pgdp.net

      Italian Harpsichord-Building

      in the

      16th and 17th Centuries

      by John D. Shortridge

      (REPRINTED WITH CHANGES—1970)

      CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

      UNITED STATES NATIONAL MUSEUM BULLETIN 225 · Paper 15, Pages 93–107

      SMITHSONIAN INSTITUTION PRESS · WASHINGTON, D.C. · 1970

      Figure 1.—Outer case of Albana harpsichord.

      Italian Harpsichord-Building

      in the 16th and 17th Centuries

      By John D. Shortridge

      The making of harpsichords flourished in Italy throughout the 16th and 17th centuries. The Italian instruments were of simpler construction than those built by the North Europeans, and they lacked the familiar second manual and array of stops.

      In this paper, typical examples of Italian harpsichords from the Hugo Worch Collection in the United States National Museum are described in detail and illustrated. Also, the author offers an explanation for certain puzzling variations in keyboard ranges and vibrating lengths of strings of the Italian harpsichords.

      The Author: John D. Shortridge is associate curator of cultural history in the United States National Museum, Smithsonian Institution.

      PERHAPS the modern tendency to idealize progress has been responsible for the neglect of Italian harpsichords and virginals during the present day revival of interest in old musical instruments. Whatever laudable traits the Italian builders may have had, they cannot be considered to have been progressive. Their instruments of the mid-16th century hardly can be distinguished from those made around 1700. During this 150 years the pioneering Flemish makers added the four-foot register, a second keyboard, and lute and buff stops to their instruments. However, the very fact that the Italian builders were unwilling to change their models suggests that their instruments were good enough to demand no

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