The harpsichord

The earliest known reference to a harpsichord dates from 1397, when a jurist in Padua wrote that a certain Hermann Poll claimed to have invented an instrument called the clavicembalum and the earliest known representation of a harpsichord is a sculpture in an altarpiece of 1425 from Minden in north-west Germany. The instrument remained in active use up to and throughout the 18th century, not only for the performance of solo keyboard music but also as an essential participant in chamber music, orchestral music and opera.

For this reason, you will find a harpsichord in almost any baroque ensemble. Although there are many different shapes and sizes they all operate with basically the same mechanism: Each key operates a wooden rod, or "jack" on which is mounted a quill plectrum. As the key is depressed, the jack rises and the plectrum plucks the string. The jack is so constructed that on its way down, when the key is released, the plectrum is pivoted back and avoids the strings. As the jack descends a felt damper quietens the strings.

This is also the main difference in mechanism between the harpsichord and the piano: whereas with the harpsichord, the strings are plucked, with the piano, they are struck by a hammer.

In an ensemble or orchestra, the harpsichord usually plays the accompaniment, or basso continuo part.

By the end of the 18th century, the style of music involving basso continuo (i.e. the baroque style) had been replaced and keyboard parts in ensemble music were becoming more soloistic - the composer wanted to write every note out, and not leave it up to the performer as much. The newly invented piano started to replace the harpsichord and was more suited to the new style of music. The different mechanism allowed for more dynamic shadings, and gradually this new instrument became the most popular of all in the 19th century.

Music for the Harpsichord

Many people believe that the apotheosis of harpsichord writing was attained by J.S. Bach (1685-1750). You might want to listen to some or all of his two-volume Forty-Eight Preludes and Fugues (Vol.I, 1722, Vol.II 1742), brimful of melodius and rhythmic music, now light, now serious, now simple, now intricate, now pure dance music, now contemplative. The first prelude and fugue featured in the Realm of Music FlashBach! events in October and November 2003.

Almost the entire output of Domenico Scarlatti (1685-1757) consists of delightful sonatas for harpsichord, equalled varied in style, but with a Spanish accent.