Updated 31 May 2015. Current offers first on this page. Newly updated: a one-manual flemish harpsichord from 2006. Recently added: an announcement of the completion of Martin Skowroneck’s last harpsichord no. 90.
Further down on this page you will find information about identifying Skowroneck harpsichords, and about beryllium-copper strings.
This page is about the keyboard instruments made by Martin Skowroneck, who was a harpsichord maker and my father. Skowroneck made 89 harpsichords, three fortepianos and a great number of spinets, virginals and clavichords between the mid-nineteen-fifties and 2013. These instruments were all hand-made to the very highest standards, and I have a personal interest in that they are kept in a good state and end up in good hands. I therefore offer the non-profit service of bringing sellers and buyers of used Skowroneck harpsichords together.
* Do you own a harpsichord made by Martin Skowroneck and want to sell it?
* are you interested in buying a used Skowroneck harpsichord?
Send me an e-mail (tilman[at]skowroneck[dot]de).
A one-manual Flemish Harpsichord (no. 87; 2006. 1×8′, 1×4′, C-c3 chromatic, 415/440 Hz.) in very good condition is for sale in the Netherlands.
This is one of the only two one-manual Flemish harpsichords with the original 8′-4′ disposition made by Martin Skowroneck (It is also likely the only instrument of this type that will be for sale in the near future, as I own the other one). The sound character of the instrument strikes me as more open and free in comparison to other harpsichords of this type. I’ve heard and played it in a medium-large concert hall with a high ceiling and was astonished by its overall volume, clarity, and the variation of tone it allows for.
This harpsichord is featured in nine pieces on Pieter-Jan Belder’s CD release Fitzwilliam Virginal Book, Vol. I (Brilliant Classics 94303; Amazon link here). For getting in touch with the owner, please contact me at tilman[at]skowroneck[dot]de.
Martin Skowroneck’s last unfinished harpsichord no. 90 will be completed by a colleague in 2016-17.
This is a two-manual Franco-Flemish harpsichord with a keyboard of nearly five octaves (depending on the exact transposing mechanism). We are now looking for clients who would be interested in this instrument, in order to make arrangements for the exact disposition and decoration of the instrument.
The work on this harpsichord was abandoned about halfway through making the keyboard frame (which is not included in these pictures). The register racks and a number of other parts were already made. The keyboard coupler will be made in the historical way.
The soundboard as well as the bottom board are already mounted (the soundboard was prepared much earlier than this instrument; it was put aside because no instruments of this particular type were on order).
The instrument still needs to be pinned, strung and fitted with jacks and a lid (stand, depending on the order), painted, and voiced. If you are seriously interested, send me an e-mail at the address above.
A nicely decorated one-manual German harpsichord after Michael Mietke in good condition is for sale in Ann Arbor, USA. Please contact me for details.
Before the mid-sixties, Skowroneck harpsichords would typically be signed with “Martin Skowroneck [me] fecit” and the place and date. The signatures in harpsichords from a later date are found hidden behind the nameboard, and in smaller instruments like virginals and clavichords on the bottom, inside, under the keys. At first sight, these instruments thus appear unsigned.
Beryllium copper is not the same as Phosphor bronze:
Instead of brass, Skowroneck used beryllium copper strings. Colleagues tell me that, unfortunately, even this material comes in a variety of qualities, and some of it does not sound very well. I have, however, only good experiences with the specific wire used in the Bremen workshop:
1) This modern material, which has a breaking point similar to brass, has one positive mechanical property similar to historical brass: it sets quickly instead of stretching endlessly. A replacement string will keep its pitch after only a few adjustments.
2) Other advantages include a relatively high resistance to breaking when bent, and a complete absence of the annoying tendency of modern brass to slip at the loops.
3) Beryllium copper of the kind best known to me also has a good sound. True, most people will have no possibility to make direct comparisons between the various materials – and “good” is a problematic term. I have tested brass and beryllium copper in one single instrument and monitored their properties over a time span of 15 years. I found beryllium copper to sound slightly “fuller” than the brass that is usually available today, but without compromising the appropriate overall “brassy” sound character. Together with the advantages listed above I personally prefer this material. As said above, however, these properties may vary from manufacturer to manufacturer and not all beryllium copper appears to be as good as I describe here.
The reason for this lengthy explanation is that beryllium copper looks very much like phosphor bronze, and can easily be mistaken for it. Especially, it seems, my Dutch colleagues have (over two generations now) developed a knee-jerk-disdain-reflex against “red” strings in harpsichords with a brass scaling; these are invariably identified and sniffed-at as “phosphor bronze” after barely a glance.
Indeed, phosphor bronze strings are, as far as I can tell, inferior to both brass and beryllium copper, so there are good reasons to be wary (also, its tensile strength is different with the result that phosphor bronze strings mounted in a true brass-scaled harpsichord likely will be under-tensed, which does not benefit the sound in any case).
But the visual aspect alone is insufficient for a proper identification. In fact, not a single Skowroneck harpsichord was ever delivered with phosphor bronze strings. It would be a shame and a waste of good material to change the red strings found in a used Skowroneck harpsichord into new brass strings on the basis of a misunderstanding.