A description and history of the pianoforte and of the older keyboard stringed instruments . o notice was the late CarlEngel ;f he acquired specimens for his collection and let me haveone of them for study, and to show musicians who might be curiousto learn its special characteristics. Li that way and at that time(1874-9) some of the leading pianists of the day had the opportunityto become acquainted with the favourite mstrument of J. S. andCarl P. E. Bach. In lectures and recitals on old keyboard instru-ments in London, Oxford, and Cambridge, given between 1883-93,I have had the privilege to
A description and history of the pianoforte and of the older keyboard stringed instruments . o notice was the late CarlEngel ;f he acquired specimens for his collection and let me haveone of them for study, and to show musicians who might be curiousto learn its special characteristics. Li that way and at that time(1874-9) some of the leading pianists of the day had the opportunityto become acquainted with the favourite mstrument of J. S. andCarl P. E. Bach. In lectures and recitals on old keyboard instru-ments in London, Oxford, and Cambridge, given between 1883-93,I have had the privilege to make the clavichord still more known. | * F6tis, Histoire G6nerale de la Musique, Vol. V., p. 31, and Rimbault, The Pianoforte, also described without understanding it, as he figures itssimple action with the damping cloth on the wrong side of the tangent. t Engel, pp. 274, 275, 355-367. + Proceedings of the Musical Association. Twelfth Session, London,1885-6. Lecture by A. J. Hipkins on the Old Clavier or Keyboard Instruments;as to the necessity of a legato style of performance, p. ca o ?J 1/313 o O03 M HDC o W pa< tS! !5 THE YIKGINAX,. 65 Although never intended to be heard out of the study or a quietsitting-room, owing to its very tender, intimate timbre, I have nothesitated to bring it before large audiences, who have willinglygiven the attention required and appreciated the charm inherentin its gentle tone. No great attention seems up to the present time to have beenevoked in France, Belgium, or Germany about the clavichord ;but in the United States, Mr. Morris Steinert, of New Haven,Connecticut, has, since 1880, taken it up and done much to bringit under the notice of musicians in America.* A few words may be added about the double clavichord, called aCembal dAmour, invented by Gottfried Silbermann. In this instru-ment the row of tangents came up to the strings at the half of theirfull vibrating measure, leaving an equal vibrating section on eitherside. There wer
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