Identifier: descriptionhisto00hipk (find matches)
Title: A description and history of the pianoforte and of the older keyboard stringed instruments
Year: 1896 (1890s)
Authors: Hipkins, Alfred J. (Alfred James), 1826-1903
Subjects: Piano Piano Keyboard instruments
Publisher: London, Novello
Contributing Library: Wellesley College Library
Digitizing Sponsor: Boston Library Consortium Member Libraries

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
me of proportion,nearly always absent m modern keyboard instruments. HARPSICHORD. The harpsichord is a double, triple—in some instances, quadruple—spinet, the sounds being excited by a jack and quill plectrum thesame as in the spinet or virginal. In other words, instead of onestring to a note, as in the spinet or virginal, the harpsichord hastwo, three, and sometimes, although rarely, fom. Excepting thecommon features of the case, sound-board, wire strings, and key-board, the harpsichord differs entirely in sound excitement and effectfrom the clavichord. It has an individuality of tone which thepianoforte has not, and a certain power, somewhat grandiose, andbrilliancy of effect which the clavichord has not; but in expressivecharacter depending upon the finger, it remains far behind either—indeed, some would deny the harpsichord any expression from thefinger. I cannot, however, go with them, as touch must be reckonedwith as producing some tone modification, however slight. It is.
Caption of Image:
HARPSICHORD (CLAVICEMBALO), BY ALESSANDRO TRASUNTINI, 1531 ; DONALDSON MUSEUM, ROYAL COLLEGE OF MUSIC, LONDON.
Text Appearing After Image:
55OQ o OQ & a o OH :^ oo o«. J^ CO oo<f OQ C<5 Q <^a? CO fC -t;oP 33O o I- m ttW THE HAKPSICHOED. 77 however, incapable of appreciable accent, a want whicli affects thetempi of rapid passages, and in this respect assimilates the harpsi-chord to the organ. The importance of the harpsichord during thesixteenth and seventeenth centuries was very great. Where thegrand piano would now go, the harpsichord went; and while not somuch a solo instrument, its importance in the orchestra of the timewas very great; the development of the continuo or thorough bass,as well as the accompaniment of recitative, being chiefly under thecontrol of the harpsichord player, who assumed the responsibility ofconductor. The complex nature of the harpsichord required a larger and adifferently shaped case to that of the spinet, the grand piano beingprefigured by it. From this peculiarity of form the Germans calledit Fliigel, or wing; also Kielfliigel, from the plectrum (Kiel, quill)causing the sound

Note About Images