Posts Tagged ‘historical performance practice’

strings from waterloo

October 7, 2013

© Tilman Skowroneck 2013

I have mentioned this before. I am not convinced that a given harpsichord can be substantially improved by putting up some new strings.

In fact I am rather convinced of the opposite, which is that random changes to a given design (and the stringing of a harpsichord belongs, or should belong, to its maker’s design choices) not normally result in a major shift toward a better tone. The expectation that a harpsichord can be optimized by applying a number of relatively simple tricks, or by experimenting with some new string material, is usually rewarded by some kind of disappointment. In my experience, a truly noticeable shift in a harpsichord’s quality often goes in the other direction: it happens when the instrument is being neglected. Improvement is a much more hard-won thing, especially when the instrument is assembled and ready to be used.

So what I will discuss here below should be seen as an exception, as I am about to introduce an exceptionally well-suited string material which actually does, within reasonable limits, improve the tone and tuning properties of a harpsichord:

Over the past decade or so, Stephen Birkett  of the University of Waterloo, Canada, has researched the properties of historical iron strings, and has come up with a formula to produce iron wire with very similar properties. This so-called P-wire is now becoming available (here is some more information about it), and I have had the chance to test it in three quite different harpsichords with a Flemish-French mixed scaling (brass in the bass, and iron from the tenor upward). (more…)

Gustav Leonhardt 1928-2012

January 18, 2012

© Tilman Skowroneck 2012

It is a sad occasion that makes me resume the writing of blog posts: yesterday morning the news reached me that Gustav Leonhardt has passed away on 16 January in his Amsterdam home.

Gustav Leonhardt walking the streets of Vienna. Photo by Ibo Ortgies, October 22, 2011

As I wrote elsewhere, I remember Gustav Leonhardt as a lifelong friend and mentor. Lifelong, because our first encounter happened at a time that I do not even remember. I am told that I was two years old; friend, because that’s what he was to me: always kind, inquiring, never brusque, and on many occasions more than ready to share not only musical, but also completely unmusical experiences such as a new movie, a book with high-end photos of Bugatti cars, a (slow, one may add) sightseeing drive through the summery back country of Siena, Tuscany, or the offerings of one or another new Amsterdam restaurant; mentor, finally, because since the first time I touched a keyboard (with higher aims than a plinking or plunking agenda, which was at the age of five and a half) Gustav Leonhardt’s musicianship has been a continuous source of inspiration for me. When I finally was in the position to take lessons at his house in Amsterdam, he spent considerable time and effort to critically assess my playing (quite in contrast to his generally complimentary style at masterclasses), from which I benefit every day even today, and for which I am eternally grateful.

The impact of this shift in the world of historical performance practice will be great. No matter whether in accordance or in opposition, there will be few harpsichordists today whose playing is not, in one way or another, influenced by Leonhardt’s approach. Now, all of a sudden, we’re on our own. The impact on the world of his closer friends and colleagues is immense. His unique wit, brilliancy and warmth will be missed at every moment to come.

My thoughts are with his wife Marie Leonhardt, his family, and his friends.

The New York Times Obituary is available under this link.


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