Bach, Heinitz, Specken, and the early "bundfrei" clavichord
The discovery of an unfretted (bundfrei) clavichord made in 1716 by the German maker Johann Michael Heinitz provides crucial information about the significance of this type of instrument in the early 18th century and its role in the music of Bach. Many of Bach's keyboard works (including the si...
Gespeichert in:
| Veröffentlicht in: | Music and its questions |
|---|---|
| 1. Verfasser: | |
| Format: | UnknownFormat |
| Sprache: | eng |
| Veröffentlicht: |
2007
|
| Schlagworte: | |
| Tags: |
Tag hinzufügen
Keine Tags, Fügen Sie den ersten Tag hinzu!
|
Tag hinzufügen | Zusammenfassung: | The discovery of an unfretted (bundfrei) clavichord made in 1716 by the German maker Johann Michael Heinitz provides crucial information about the significance of this type of instrument in the early 18th century and its role in the music of Bach. Many of Bach's keyboard works (including the sinfonias and both books of Das wohltemperirte Clavier) require the kind of unfretted action found in this instrument, and most of his works for clavier are accommodated by its C-d3 compass. The unfretted clavichord is described by Johann Speth in the preface to his Ars magna consoni et dissoni (Augsburg, 1693). The Heinitz clavichord of 1716 is the earliest known extant unfretted clavichord, and yet its design suggests that it reflects not an experimental effort but an established design. This is confirmed by similar, later clavichords by Saxon builders, such as Philip Jacob Specken (1680/90–post 1762?). Heinitz and Specken were probably both drawing from a common basic design developed by South German makers well before 1716. These instruments were, thus, commonly available by the time Bach wrote much of his mature keyboard music. (RILM) |
|---|---|
| ISBN: | 0913499242 9780913499245 |