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ID: MKM101
CDs: 1
Type: CD
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Subcollection: KeyboardRecorded in 1986 |
| 15.00 eur Temporarily out of stock |
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ID: MKM102
CDs: 1
Type: CD
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Subcollection: KeyboardRecorded in 1984 *Recorded in 1986
4-6 - Susan Millan, Lenor Smith, flutes |
| 15.00 eur Buy |
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ID: GMCD7232
CDs: 1
Type: CD
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Collection:
Baroque
Subcollection: KeyboardRecorded: The Priory Church of Our Lady and St. Cuthbert, Worksop, Nottinghamshire on 1-4 January 2001 by kind permission of the Vicar, the Reverend Fr. Andrew Wagstaff SSC.
The instrument used in this recording.
The clavichord was made by Derek Adlam in 1982. It is a copy of an instrument of 1763 by Johann Adolph Hass, Hamburg, Russell Collection, Edinburgh.
Brass strung, the clavichord has a five octave compass of FF to f3, unfretted, with an additional 4 foot string in the bass. The pitch is a1 = 405Hz, an approximation of mid-18th century Hamburg pitch.
Tuning: a sixth-comma system is used (Young 2), allowing free modulation but retaining a sense of key and chord colour.
The Clavichord
The clavichord appeared in Europe towards the end of the 14th century. By 1404, the terms clavichordium and clavicymbalum described clearly distinct stringed keyboard instruments. Many 15th century representations of keyboard instruments appear in stained glass, carvings, and in paintings and manuscripts. No instruments survive from before 1480, the approximate date of an upright harpsichord in the museum of the Royal College of Music, London. No clavichord before about 1540 has come down to us, but many depictions, treatises and poems relating to the clavichord give us a clear view of these earliest instruments and their use.
The clavichord’s method of tone production is unlike any other stringed instrument. The strings pass over a bridge glued to a soundboard, and their opposite ends are wrapped in a ribbon of woollen cloth which prevents their vibration. The strings are sounded by metal blades called tangents, driven into the distal ends of the key levers. When a key is depressed, the tangent rises to strike the string and, remaining in contact with it while the finger rests on the key, defines its speaking length like a second bridge. The tangent also isolates the speaking section of the string from the damping material, leaving it free to vibrate. When a key is released and the tangent falls away from the string, the damping fabric can once again stop the string’s vibration.
>The singular feature of this simple system is that the tangent strikes the string at one end of its speaking length, i.e. a part of a string normally fixed. In striking the string at a non-vibrating part, the tangent can supply it with only a very small amount of energy. The tangent’s sudden but slight displacement of the string from its plane of rest, and a small shock wave which travels down it towards the bridge, cause it to vibrate and produce its sound.
What then is the advantage distinguishing the clavichord from the harpsichord? Despite the small sound, a clavichord player can achieve a considerable range of loud and soft tone. This effect was impossible to achieve on any other keyboard instrument by the fingers alone before the invention of the Florentine piano at the end of the 17th century. The clavichord player also is in contact with the string itself, so remains in control of the means of tone production. By varying the pressure, effects (including a vibrato) can be obtained which are achievable only on the clavichord. The instrument takes on some of the characteristic inflections and modulations of the human voice, an ideal instrumentalists have aimed at throughout the history of western music. Its intimacy of tone led to its association with personal expression and philosophical reflection. It became a spiritual confidant and comforter in times of distress.
Throughout the 17th century, use of the clavichord became more localized and especially in France, Italy and England, it gradually fell from favour. In these countries, schools of composition developed which exploited the rich tonal characteristics and potential for brilliant technical display of plucked keyboard instruments. In Germany, the clavichord remained highly important as a study and practice instrument, particularly for organists. It also suited a tendency towards spiritual introspection amongst German composers.
Despite the clavichord’s popularity in Germany, almost no music was written specifically for the instrument before the musical innovations of Johann Sebastian Bach’s sons and the growth of a new, expressive Empfindsamer Stil, the ‘style of sentiment’. We have no definite proof of Bach’s opinion of the clavichord beyond a statement by his first biographer, Johann Nikolaus Forkel, 1749-1818, whose information supposedly came from Bach’s sons:
"…. he considered the clavichord the best instrument for study and for any music performed in an intimate setting. He found it the most able to express his most refined thoughts …. [and] capable of so many subtleties within its small scale…."
Forkel was one of a group of enthusiastic "Bachists" who continued to revere the works of Johann Sebastian and to promote the clavichord as an ideal instrument even in the face of the increasing popularity of the fortepiano. Even if Forkel’s report is not completely impartial, clavichords would without question have been used frequently in Bach’s household. It is appropriate to perform Bach’s keyboard music on the clavichord, even when the scale of a work seems to suggest a more powerful and extravert instrument. The scale of the instrument may be small, but its dynamic and expressive range can meet the requirements of music conceived on the largest scale. When heard with a receptive and unprejudiced ear, the clavichord’s limitations become insignificant. |
| 15.00 eur Buy |
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ID: GMCD7260
CDs: 1
Type: CD
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Collection:
The Great Composers
Subcollection: KeyboardRecorded: North Transept of the Priory Church of Our Lady and St Cuthbert,Worksop -17-20 September 2002, by kind permission of the Vicar, the Reverend Father Andrew Wagstaff SSC
The clavichord was made by Derek Adlam in 1982. It is a copy of an instrument of 1763 by
Johann Adolph Hass, Hamburg, Russell Collection, Edinburgh. Strung throughout in brass, the clavichord has a five-octave compass of FF to f3, unfretted, with an additional 4 foot string in the bass. The pitch is a1 = 405Hz, an approximation of mid-18th century Hamburg pitch. It is tuned in a sixth-comma system (Young 2), allowing free modulation but retaining a sense of key and chord colour. |
| 15.00 eur Buy |
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ID: MELCD6000295
CDs: 1
Type: CD
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Collection:
Electro-Acoustic Chamber Music
Subcollection: KeyboardGenre: Electronic, Classical
Style: Abstract, Experimental, Ambient, Modern
Composed By, Performer, Keyboards, Synthesizer, Vocals, Percussion, Producer, Recorded |
| 16.00 eur Temporarily out of stock |
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ID: ART178
CDs: 1
Type: CD
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Subcollection: New MusicD.Shapovalov - cello, keyboards, electric guitar, bass guitar A.Vershinin - piano D.Selivanov - drums A.Batychenko - trumpet |
| 17.00 eur Buy |
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ID: ART253
CDs: 1
Type: CD
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Subcollection: Keyboard |
| 17.00 eur Buy |
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ID: ART218
CDs: 1
Type: CD
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Subcollection: SynthesizerSynthesizers «Kurzweil» and Korg »- G.Sedelnikov / Keyboards" Kurzweil "&" Korg "- G.Sedelnikov
18 - Poet Olga Sedelnikova / The poem reads Valentin Zagoryansky |
| 17.00 eur Buy |
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ID: ART194
CDs: 1
Type: CD
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Subcollection: VoicesMusic Viktor Agranovich
Arranging, mixing, mastering Nikita Bratus
Igor Marchenko - vocal Nikita Bratus - keyboards Konstantin Il'itskiy - violin (2) Viktor Agranovich - cello (2, 10) Anastasiya Shabalina - vocal (4) |
| 17.00 eur Buy |
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