The Italian harpsichord between the 16th and the 18th centuries. A musical instrument and a work of art

Abstract

The present article is aimed at collecting and organising the knowledge about harpsichords and similar instruments which were made on the territory of today’s Italy between the 16th and the 18th centuries. The analysis of the instruments from the Italian Peninsula will cover their exterior (instrument as a work of art) and typically technical features (disposition, rage, tuning, etc.). An addition to the text are the illustrations presenting construction-related and decorative details. The article is addressed to both harpsichordists and early music performers. Harpsichords, virginals and Italian spinets are a sort of exception as compared to the instruments from other European centres. Italy-made instruments had a relatively short period of evolution before they achieved their final form – it nowadays causes a significant problem in terms of assigning the right date when a given model was created. The key for understanding the uniqueness of Italian instruments is their unusual structure and sound. Both features are important for a performer in order to ensure the best performance possible. The construction of the harpsichord is what influences its sound the most, so the knowledge about the differences between Italian, French or German instruments translates directly into the style of the aesthetics of performance. The article also presents the harpsichord as a unique work of art. Intricately ornamented, carved and painted, clavicembali were meant to please the eye and blend with the room interior like a beautiful piece of furniture. The practical interpretation of this issue are the descriptions of a few instruments and the techniques used by artists working on the territory of today’s Italy.