The problem seems to me that collecting appropriate harpsichords for every style is way to expensive, not even speaking of the space you need to store them. Most people are happy if they can afford a double let alone to have an Italian as a second instrument. This second instrument usually an allround Italian (after all we have to earn a living) and not an instrument with 16th century setup. And what about Iberian repertoire or early English repertoire? In fact we hardly have a good idea what kind of instruments they played. Is Byrd best served with an Italian, or maybe a Ruckers, or perhaps just Theeuwes. In the end we usually have to compromise I am afraid. That said, playing virginalists on a Taskin copy seems strange to me of course, but again, most of us will have to deal with a situation which is far from perfect. I also used to study my Frescobaldi, Sweelinck and Tomkins on a French double by Michael Johnson….
Just a quick comment: the appropriate instrument for a large amount of this repertoire is actually a small multi-fretted clavichord.
I also would like to mention that Dr. Cea Galan reported that Cabezon sang as he played. That could well be an appropriate thing to do with many of the intabulations, and many of the cantus firmus pieces.
Anyway, my studio is full with instruments (and not even containing half of the instruments I would need to cover all the repertoire) that I sometimes long back to the situation of having just one good instrument. It shouldn’t stop anybody from playing all the early stuff anyway….
The observation that many believe the “one fit all” idea is true, but perhaps it applies to people who are gone now.
Even persons like myself, for almost half a century owner of just a French double, have always been aware that ideally you need at the very least also an Italian single. If I had the money and (even more expensive!) the space, I would add a Flemish single and an virginal. Not many people are aware that a well voiced virginal can easily match the two 8’ of a well-voiced double. And the feeling and sound projection is neither better nor worse, but very very different.
Dear participants,
thank you for your great interest in our congress about the harpsichord in the 16th century. As promised, we provide the possibility to rewatch the paper presentations as well as the discussions and (lecture) recitals. Please note that this private YouTube playlist is going to be available only using the following link and only until May, 10th.