New video recording on the Colmar Ruckers

Thought this could be of interest.
Best,
Matthew

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Not in Boalch 2.
Boalch 3 number: RUCKERS, I. 1624, (p.587).
No detailed info on the stop disposition which, although not original (it was originally transposing) it appears to be 17th century.

Le 20/03/2022 12:49, Claudio Di Veroli via The Jackrail Ă©crit :

Boalch 3 number: RUCKERS, I. 1624, (p.587).
No detailed info on the stop disposition which, although not original
(it was originally transposing) it appears to be 17th century.

From the Colmar Museum’s site:

Cet exceptionnel clavecin, portant sur sa table d’harmonie la date de
1624, a été réalisé par Hans Ruckers II, le célÚbre facteur originaire
d’Anvers. ArrivĂ© en France sans doute avant 1680, il y subit diffĂ©rentes
modifications de clavier afin de l’adapter Ă  l’évolution de la pratique
musicale ainsi qu’aux exigences de la littĂ©rature pour clavecin de
François Couperin et Jean-SĂ©bastien Bach. DĂšs 1680, l’instrument est
muni d’un somptueux piùtement de type Louis XIV alors que le revers du
couvercle Ă©tait peint d’une scĂšne reprĂ©sentant le concours de musique
entre Apollon et Pan devant le roi Midas.

Acquis en 1980 par le Musée Unterlinden, le clavecin possÚde un pedigree
impressionnant puisqu’il est conservĂ© depuis le 18e siĂšcle au chĂąteau de
CondĂ©-en-Brie dans l’Aisne qui a appartenu Ă  la famille de marquis de
Sade. Le nombre restreint de clavecins Ruckers conservés en collection
publique, l’excellent Ă©tat de conservation ainsi que son Ă©tat de
fonctionnement rendent l’exemplaire du MusĂ©e Unterlinden d’autant plus
précieux. Sa mécanique sensible et précise, ses sonorités somptueuses
font de cet instrument une référence auprÚs des clavecinistes et
facteurs d’instruments. Il suscite rĂ©guliĂšrement des enregistrements.

Couvercle : France, Allemagne, Concours de musique entre Apollon et Pan
devant le roi Midas, vers 1700, peinture sur panneau

  • RĂ©fĂ©rence : Bois peint, laque, mĂ©tal
  • Artiste : Iohannes RĂŒckers (1578-1642)
  • AnnĂ©e : 1624
  • Dimensions : H. 94 ; L. 230 cm ; l. 80 cm
  • Statut : Achat, 1980
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Thanks Dennis for the detail, which however does not include the detail I was looking for: disposition. Anyway by looking at the whole video it appears to be the “classical French double”: lower manual 8’+4’+coupler, upper manual 8’.
(Which does not necessarily imply that this disposition dates from the instrument’s French history after 1680: French doubles with the “classical” disposition were described as early as 1643 (Kottick 2003 p. 166).

Christopher Clarke would be the person to ask.

Best,

Matthew

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Christopher Clarke published a report of his restoration but unfortunately I do not have access to it:

Catalogue de la MĂ©diathĂšque - Philharmonie de Paris - PĂŽle ressources - Catalogue de la MĂ©diathĂšque - Philharmonie de Paris - PĂŽle ressources - Recherche)))

There is also this study by Albert Raber:

Catalogue de la MĂ©diathĂšque - Philharmonie de Paris - PĂŽle ressources - Catalogue de la MĂ©diathĂšque - Philharmonie de Paris - PĂŽle ressources - Recherche)))

This instrument has been much recorded (esp. with Blandin Verlet), and doesnt sound at all French, though, of course altered from the original disposition.
David

I played this instrument about 10 years ago, after having admired it on recordings for many years. It was superb. It was restrung in P-wire by Chris Clarke a few years ago, but it doesn’t seem to have changed the sound much. The instrument has been copied frequently, but I have never heard a copy that sounded much like the original. The richness and resonance are remarkable.

I have to say that I do find the sound more French than Flemish - that is to say, it doesn’t sound like an early Ruckers, or like a Couchet, or like a Dulcken. Perhaps these things are a bit subjective.

By the way, I saw on Facebook that money is being raised for a ‘restoration’ of the instrument. When I asked why restoration would be necessary, I was told that it was the lid painting which needed attention.

Hi,

Indeed it sounds more like a late XVIIth French harpsichord, but since the case was not enlarged there is more core to the sound than for example in the NeuchĂątel Ruckers.
As you write the lid needs attention, for instance the outer part suffered from a leak from the roof through the ceiling (!!!)
If any one is interested I can send an article by Christopher, published in 1996 in Konferenzbericht HĂ€ndel-Hauses Halle September 1996, published in 1998: ISBN 3-910019-12-9

Best wishes,
Aline Zylberajch

Envoyé de mon iPhone

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