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The Art of Making a Harpsichord, by Darryl Martin
PDF Download The Art of Making a Harpsichord, by Darryl Martin
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For around 300 years, the harpsichord was the leading domestic musical instrument and often a highly fashionable piece of furniture as well. Usurped by the piano at the beginning of the nineteenth century, it was taken up again with the first revival of early music at the beginning of the twentieth century. Over the past�40 years, makers have been getting closer to reproducing examples from the historical past. Now, The Art of Making a Harpsichord gives its readers the chance to discover this challenging and rewarding pursuit in a way that is rarely possible without working with an established builder. Beginning with an overview of the instrument, its schools and workshop traditions, the author—himself an experienced maker and researcher—explores the various models and types before leading the reader through the manufacture of an Italian-style instrument, while describing historically-based working methods which are applicable to all traditions. Just as in the seventeenth or eighteenth century, there is no need to rely on large power-tools. This book has been designed to provide assistance to all harpsichord makers, whatever model they choose to make. It is lavishly illustrated with line drawings and photographs, the latter taken—wherever possible—from antique examples that give the reader as full an understanding as possible of the quality of these beautiful instruments.
- Sales Rank: #1396652 in Books
- Brand: Brand: Robert Hale
- Published on: 2012-09-01
- Original language: English
- Number of items: 1
- Dimensions: 11.80" h x 1.10" w x 8.40" l, .0 pounds
- Binding: Hardcover
- 256 pages
Features
- Used Book in Good Condition
Review
Originally from Western Australia, Darryl Martin moved to the United Kingdom in the 1980s to work as a harpsichord maker. Increasingly interested in the study of antique examples, he pursued this research as a PhD (awarded in 2003) and since 2004 has been curator of the Edinburgh University Collection of Historic Musical Instruments, which is home to the celebrated Raymond Russell and Rodger Mirrey keyboard instrument collections. A regular writer for major journals and a speaker at international conferences, Darryl Martin is also active as a lecturer and postgraduate supervisor at the University of Edinburgh.
About the Author
Originally from Western Australia, Darryl Martin moved to the United Kingdom in the 1980s to work as a harpsichord maker. Increasingly interested in the study of antique examples, he pursued this research as a PhD (awarded in 2003) and since 2004 has been curator of the Edinburgh University Collection of Historic Musical Instruments, which is home to the celebrated Raymond Russell and Rodger Mirrey keyboard instrument collections. A regular writer for major journals and a speaker at international conferences,�he is also active as a lecturer and postgraduate supervisor at the University of Edinburgh.
Most helpful customer reviews
5 of 6 people found the following review helpful.
You'll like this book if this is the sort of thing you like
By Keith Rogers
It goes without saying that books on harpsichord making are never going to make the NY Times bestsellers list. That any get published at all is a notable miracle. It was thus with excitement that I saw a new publication on the topic. Unfortunately, some of the other offerings are written by what might be charitably referred to as autodidacts, so one needs to weigh the author. Happily, in this case it is Darryl Martin (you can look up who he is) and it was the proverbial no-brainer for me to buy. So what did I get?
The book is an expanded version of the author's PhD dissertation. From the start he planned to turn it into a book and, 10 years later, he has. Some new bits are obviously spliced in to have a hope of context for a general readership. For example, there is a small section on the categories of jack-operated keyboard instruments plus the obligatory bit on clavichords. Another is a whirlwind introduction to the history and "national schools" of the instruments. I can understand why the author and/or publisher included this material, but, honestly, anyone who is remotely considering making a harpsichord from scratch has long since forgotten more on these subjects than the book presents. I blew past them with a marginal scan.
So, who is this book for? There are a few groups for whom this book is a must have. One comprises those harpsichordists who are compelled to know more about their instruments beyond the technician duties inherent in the beasts. Another are woodworkers who are compelled to make a harpsichord. Then there are odds n' ends like organology departments who should have everything that is published, just because. I am a decades long woodworker who's made dozens of mostly historically informed and "copy" instruments (though no keyboards yet - this book will help fix that). Because of this I also blew past the chapters on woods, shop and tools; I assume they are adequate.
Actually, a bit of discussion on the woods section is in order because it's an area that could really use a very simple improvement: include Latin binomials in addition to common names. The author uses English common wood names that can mislead those steeped in American/Canadian usage. For example, when Martin uses the word sycamore, we need to think soft maple, because our sycamore trees are his plane trees, Platanus sp, and his sycamore is a type of Acer sp. Similarly, his poplar is real poplar from Populus sp whereas here it is wood from the tulip tree Liriodendron. Similarly, his lime is our bass which comes from lindon trees, Tilia sp. You can see why binomials are Really In Order because of the common name mess.
In the bulk of the book Martin does nothing short of starting with hunks of lumber, determining a design, with asides on possible revalament modifications, through detailing construction every single step of the way including finishing and decoration. Every jig and specialty tool is covered. Items most would not even think to include are included, such as making and using treenails and gesso. Differences between schools are outlined when appropriate (e.g. box vs split registers). The processes are heavily historically informed, but not slavishly so. Appendices cover topics such as the mathematics of scaling and temperament.
The Art of Making a Harpsichord is a tour de force. It is a labor of love because he must've known there aren't likely more than 500-700 sales possible in the whole world. In my opinion, though, if you are remotely interested in the subject, you must own this book.
2 of 2 people found the following review helpful.
A must have book for the harpsichord enthusiast
By N. Carey
There is really nothing to add to the Keith Rogers review, except I would whole-heartedly endorse the purchase of this book for anyone who is really serious about or just seriously interested in harpsichords, either as a player, repairer, builder (either novice or experienced), aficianado or a lover of keyboard instruments. I have quite a few harpsichord books, but this is now my favorite! The color photos are quite beautiful and the drawings are excellent. This book truly must have been a labor of love. The only real question I have is "why didn't I buy this book sooner?".
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