Abstract
The harpsichord occupies an unusual position in contemporary music. Due partly to its strong historical associations a rather polarised modern repertoire has evolved which either unashamedly evokes, or consciously seeks to erase, the past. This article is an attempt to provide an answer to the question as to why is it interesting for me, at this time, to compose for the harpsichord; and, in particular, to identify continuities between historical issues and the construction and material of composition in the context of a particular musical culture. It seeks to examine, in both a personal and a general sense, the manner in which the instrument as cultural object impinges upon the act of composition (particularly of solo works), and comments on composers' apparent strategies in neutralising or reinforcing such associations. Reference is made to aspects of the construction of recent works by the author in the context of exploring these more general issues.
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