T\Ud<P Fanpsy Society

Total Page:16

File Type:pdf, Size:1020Kb

T\Ud<P Fanpsy Society t\ud<p FanpSy Society NEWSLETTER Volume 3 Number 1 February 1992 FAMILY PROFILE - WARNER RUCKER BY ANNE TAYLOR Twangs of plucky banjo music His mother, Janie Duff Rucker, accompanied by a harmony of other played the accordion; his father, instruments once reverberated through James Madison Rucker, accompanied on the valley below Gun Mountain. the fiddle; and the children kept tune on a medley of different instruments. But the Amherst County, Virginia, countryside is quiet now—painfully "We sounded good," said Rucker. arthritic fingers prevent Warner Ruc- "You couldn't beat it." ker from strumming the banjo much anymore. Instead, he plays the music After they finished playing mu- in his memories, recalling a time when sic, the family would pop popcorn and he and his family strummed the live- eat apples together, huddling by the liest tunes. fire in the bitter winter months and venturing outside in search of a cool The 89-year old and his nine breeze during the sweltering summer. siblings, who mastered an assortment of instruments, could once keep toes "You didn't have anything much to tapping and hands clapping for hours do in those days, " explained Mary with their musical abilities. Rucker, his wife. In the early 1900s, when Rucker was growing up in the rural country side, music was one of the main forms of entertainment for the family, which lived miles from any settlement. Even the nearest city, Lynchburg, was a day's journey on horse-back. Once the chores were complete and the night's darkness set in, there was little to do on the isolated farm. The house wasn't equipped with elec- tricity—there was no radio or televi- sion, of course, and only a few books. The family didn't have a car—just a couple of horses used for farmwork. To occupy those long Saturday evenings, the Rucker family formed a musical group, recalls Warner Rucker, now a resident of the Pleasant View area in Amherst County. The gaiety of those nights of singing and performing together is one of Rucker's fondest Warner and Mary Rucker memories. 1984 page 2 The Rucker children also enjoyed Although the children attended playing baseball on Saturday after- community school in later years, they noons. Pitted against other area began their lessons at a small, pri- teams, the youngsters would walk or vate school located just yards away ride horse-back to fields miles away from their doorstep. to test their skills. The Ruckers were skilled in the sport and also had "You couldn't get teachers to the advantage—between the 10 of them teach at a school in those days, so — of filling every slot on the team, you (a family) hired one," explained with one child left to sit on the Rucker. "We went to school right in bench. our front yard." Another activity popular during The family set up a small school- Rucker's youth was jousting tourna- house in an outbuilding in front of ments—a sport he particularly rel- their home. ished. An excellent horseman, Rucker jousted for 52 years, winning a number The six Rucker boys also slept in of trophies and plaques. that structure, because the nine-room log house couldn't hold all of the Other social activities were children. The sisters slept inside mostly neighborhood oriented: church the home with their parents. get-togethers, school plays, picnics and hayrides. "It got a little crowded in the house but we got along," recalled Hog killings were standard social Rucker. events when families gathered at an individual farm to help each other The Rucker homeplace was built in with the different tasks involved in 1738—made from logs which have now processing the pork meat. been covered with asphalt. The origi- nal plaster still remains in the two- "People back then had a better story structure with tiny rooms and no time than they have now," he said. closets. "I'd like to live another 89 years just like I've lived this one." Rucker's father, James Madison Rucker bought the farm with his two But before they could enjoy those brothers—Henry and Nathan—in the carefree hours of youth, the children late 1880s and divided it between had to work hard, laboring in the them. farm's back-breaking fields for hours each day. Until only a few years ago, Rucker was still living in that home, The family raised black tobacco tucked away in the woods off a winding as a main crop on the 442-acre farm, gravel road. And he slept in the which also boasted an orchard that bedroom where he, his five brothers produced apples, pears and cherries. and four sisters were born. In addition, they grew fields of wheat, which they thrashed themselves, But, because of poor access and acres of corn, and a wide variety of the relatively long distance from any vegetables. health care, he and his wife, Mary, decided to build a new home. "When we were coming up, we never thought anything about buying food. They sold the family place and We raised everything here," said Ruck- moved three years ago. It was the er, adding that they would occasional- first time Rucker had ever lived any- ly purchase a bucket of saltfish as a where except his childhood home, where treat. "I was working out in the he was firmly rooted after almost a fields when I was nine years old." century. He, like other youngsters of that "There isn't any use in moving era, left the area's Pleasant View all around," said Rucker. "When you School after finishing the ninth grade find a good place, you stay." to work on the family farm behind a one-horse plow. Rucker, born 16 March 1902, was married 4 Nov. 1939, to Mary Crist, page 3 'born 4 Feb. 1916. He is the brother of James, Louis, Isaac, Pearl, Ruth, Minnie, Girlie, Cecil and Warren Ruck- er. (Girlie, whose real name is Vivi- an, and Cecil are twins.) Because of age and distance, the three remaining siblings—Lewis, Min- nie and Girlie—don't play much music any more. But, in Rucker's new home, his old worn banjo still occupies a promi- nent place in his living room. And, he said, strains of the family's music still dance through his memory like those festive gatherings were just yesterday. "I did enjoy those times," he said. "Those were good times, happy times." (Note: Anne Taylor is assistant edi- tor for the Amherst New Era Progress. The home of Warner and Mary Rucker She and her husband, Rodney Taylor, are co-owners of High-Peak Sportswear, ************************************* where the T-shirts were made for the 1990 Rucker Reunion in Amherst County. Announcements They, along with his parents, Ed and Marita Taylor, and his sister, Faye, 1992 RUCKER REUNION, OCTOBER 10 & 11. and her husband, Ralph Smith [also co- FREDERICKSBURG, VA. owners of High-Peak Sportswear], served on the 1990 Reunion Committee. Information about the reunion We appreciate Anne taking her valuable will be in the May 1992 Newsletter. time to interview Warner and write this most interesting article.) ************************************* YEARLY UPDATE A reminder from Doris Edwards, WARNER RUCKER'S GENEALOGY 2017 43rd S.E. U-2, Grand Rapids, MI 49508: Every year at the time to Warner Rucker's line of descent renew your membership in the Rucker from Peter1 Rucker: James6 Madison Family Society, it would be a good (incorrectly listed in Wood, p.112, as idea to update your family lineage James Monroe). Nathan5 Wingfield, charts for births, marriages, and Isaac4, Ambrose3, John2, Peter1 Rucker. deaths. She also requests that peo- ple type or print information to elim- Warner and Mary Rucker's home was inate mistakes in copying. opened to the family for the 1984, Virginia Rucker Reunion, held in ************************************* Amherst County. Everyone was fasci- nated with his primitive cottage and IS THIS YOUR LAST NEWSLETTER? tails of jousting tournament days. Please check the address label and if it says '91, please pay your dues to Rucker's home, near Pedlar Mills, remain a member. If it says '92 or was built about 1738 by the Lucas '93, you are paid through that year. family, making it over 250 years old. Of 325 members only 178 are paid up to The two story, five room house is very date. We would hate to lose you as a much as it was in the 18th century. member, but feel this is the last newsletter we can send unless you send We wish Warner Rucker many happy your $5.00 fee. returns as he celebrates his 90th The second number on the address birthday on March 16, 1992. label is your membership number. page 4 WARNING: DO YOU HAVE AIDS (Amateurs7 Insufficient Documentation Syndrome) Many books published in the out verifying their documentation past are so lacking in basic doc- spread a disease; they help to umentation that they are harmful perpetuate false information that to persons pursuing their genea- should have been revealed as logy. such. Theirs is a sin of omis- sion more venal that the sin of Do you have a tendency to commission made by the original copy anything out of a book and compilers. feel because it has been printed in a book that it must be fact? "Guides to research, courses Then you will have big troubles! in genealogy, and seminars did not exist too many years ago to Unless a book cites primary make family historians aware of sources, it should not be used as the absolute necessity for accu- a reference.
Recommended publications
  • Early Music Review EDITIONS of MUSIC a Study That Is Complex, Detailed and Seems to Me to Reach Pretty Plausible Insights
    Early Music Review EDITIONS OF MUSIC a study that is complex, detailed and seems to me to reach pretty plausible insights. His thesis in brief is ‘that the nativity of Christ is BOOKS represented in the first sonata in G minor while the juxtaposed D minor partita and C major sonata are the Ben Shute: Sei Solo: Symbolum? locus of passion-resurrection imagery.’ He acknowledges The Theology of J. S. Bach’s solo violin works that there have been both numerological and emotion- Pickwick Publications, Eugene, Oregon based interpretations in these areas, but none relying ISBN 978-1-4982-3941-7 on firm musicological bases. These he begins to lay out, xxvii+267pp, $28.00 undergirding his research with a sketch of the shift from thinking of music as en expression of the divine wisdom, his is not the first monograph to employ a variety an essentially Aristotelian absolute, towards music as a of disciplines to delve beneath the surface of a more subjective expression of human feeling, revealing the Tgroup of surviving compositions by Bach in the drama and rhetoric of the ‘seconda prattica.’ In Germany hope of finding a hidden key to their understanding and these two traditions – ratio and sensus – remained side by interpretation: nor will it be the last. But what is unusual side until the 18th century, and the struggle to balance the about Benjamin Shute is that he does not go overboard two is evident in Bach’s work. So stand-alone instrumental for the one-and-only solution, instead adopting a multi- music has a theological proclamation in its conviction faceted approach to unearthing the composer’s intentions.
    [Show full text]
  • Guide to the Dowd Harpsichord Collection
    Guide to the Dowd Harpsichord Collection NMAH.AC.0593 Alison Oswald January 2012 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: William Dowd (Boston Office), 1958-1993................................................ 4 Series 2 : General Files, 1949-1993........................................................................ 8 Series 3 : Drawings and Design Notes, 1952 - 1990............................................. 17 Series 4 : Suppliers/Services, 1958 - 1988...........................................................
    [Show full text]
  • Early French Harpsichords
    Early French Harpsichords by Michael Thomas I am going to discuss two early French harpsichords My own building has been influenced by the —Philippe Denis (1674) and Sebastien Gamier enormous variations which are found in early (1747)—in detail, and show a complex relationship Italian instruments. Wanting to make double-manual which these instruments had with those of other instruments without being restricted by the countries. limitations of the Ruckers style, I made doubles Three instruments have recently been discovered. which were like the Italian but with slightly thicker While none of them is dated or signed, various sides and deeper cases. This produced instruments experts have contradicted each other with guesses singularly like those that were later discovered, about their places of origin, which include France, e.g. the Denis of 1674 and the Tisseran of 1710. Spain, Italy, Sweden, Germany and England. This One cannot assume that the indigenous French- suggests that while in the later 18th century there English style was copied from the Italian, but it were clear types of instruments in, say, Paris or does suggest at least a common ancestor. I believe London, in the earlier period there was a greater that as the instrument was built in France it was as exchange of ideas, and certain types of instruments close as possible to such hand-plucked instruments that appear in several countries. as the lute. The Layout of the Soundboard of the P. Denis Photograph No. 1 and the first diagram show the layout of the Denis harpsichord of 1674. There is a large area of soundboard between the case and the 8ft.
    [Show full text]
  • The Harpsichord: a Research and Information Guide
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad.
    [Show full text]
  • Harpsichords Extraordinaire Two Keyboards, Each with a Story to Tell
    TREASURE Harpsichords Extraordinaire Two keyboards, each with a story to tell ! 1900, no one in America was building acquired the harpsichords. Pianos ruled, and that Dolmetsch in was that. Then in 1905, the French- 1929, and ju- born musician and instrument maker nior Ralph Kirkpatrick IArnold Dolmetsch (1858-1940) arrived in ’31, later an acclaimed harpsi- Boston, where he spent the next six years chordist and musicologist, con- building clavichords and harpsichords with certized on it at Paine Hall the piano makers Chickering & Sons. Dolmetsch next year. was “the man in front of the ‘early-music’ The 1906 harpsichord has revival in the United States,” says Mariana two keyboards, or “manuals.” In his foreword Quinn, manager of Piano Technical Services Dolmetsch used ebony for to Hubbard’s Three (PTS) at Harvard. Early-music aficionados the natural notes and ivory Cen turies of Harpsi- sought to build authentic reproductions of for the accidentals, yielding a color chord Making (1965), ancient instruments and to perform centu- scheme that reverses the conventional one. Kirkpatrick writes ries-old pieces in ways true to their origins. Its beautiful case, with ivory inlays, may be of hearing about Two extraordinary harpsichords, one of Indian rosewood, according to PTS senior “two graduate stu- which Dolmetsch built with concert technician Paul Rattigan. dents in English…who had built what I Chickering in 1906, re- Piano keys trigger hammers, but pressing believe was a clavichord....it became per- side in the PTS work- a harpsichord key raises a jack with plec- fectly clear to me that Frank Hubbard and shop in Vanserg trum that plucks a metal string.
    [Show full text]
  • William Dowd Rememberance.1.1
    Remembering William Dowd (February 28, 1922 – November 25, 2008) Depending on one’s worldview, it was either serendipity or fate that brought William Dowd and Frank Hubbard (1920–1976) together at Harvard in 1940. It was here that the boyhood friends saw their first harpsichord, an instrument by Arnold Dolmetsch (1858–1940) built at the Chickering Piano Factory in Boston. More harpsichord sightings ensued: fellow Harvard student Daniel Pinkham (1923–2006) owned an instrument by John Challis (1907–1984), and they also heard Pinkham’s teacher, harpsichordist and harpsichord builder Claude Chiasson (1914–1985) play in concert as well. The two English majors fell in love with the instrument, and were determined to begin building harpsichords that, unlike many built at the time, adhered to the principles of 17th- and 18th-century craftsmanship. It was a decision that in many ways started a revolution, the effects of which are still strongly felt. Both young men temporarily left Harvard to serve in World War II, but upon finishing their degrees they decided to embark on apprenticeships with two of the early revivalists whose work had loomed large: the French-born Dolmetsch, and the Michigan-born Challis, who had spent four years as an apprentice of Dolmetsch in England. While Dolmetsch had passed away before Hubbard could work with him, his shop was still active, and Hubbard learned some of the necessary fundamentals there. However, he later learned more about extant antiques from the extensive research of Hugh Gough, and by visiting instrument collections in London, Paris, Brussels, and The Hague. Dowd, meanwhile, had a very productive year-and- a-half with Challis in Detroit, learning not only the craft of instrument building but also the importance of having integrity as a builder.
    [Show full text]
  • The Harpsichord: a Research and Information Guide
    THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. Among the many friends who provided support and encouragement are Clara, Carmen, Cibele and Marcelo, Hilda, Iker, James and Diana, Kydalla, Lynn, Maria-Carmen, Réjean, Vivian, and Yolo.
    [Show full text]
  • Proyecto Final “Master Renaissance Studies” El Programa Iconográfico
    Proyecto final “Master Renaissance Studies” El programa iconográfico de las tapas armónicas en los Clavecines Ruckers. Docente: Ghislain Kieft Verónica Estevez 0266779 Utrecht, 08-2006 Índice Introducción……………………………………………………………………… Pag. 2 La Familia Ruckers, sus raíces y su arraigo………………………………….. Pag. 7 Amberes en el tiempo del los Ruckers……………………………………...... Pag. 9 El gremio de San Lucas…………………………………………………………. Pag. 10 El ambiente artístico en Amberes……………………………………………... Pag. 12 Los instrumentos y sus decoraciones…………………………………………. Pag. 14 El motivo azul……………………………………………………………………. Pag. 18 El color y la técnica……………………………………………………………… Pag. 21 Las flores de la tapa armónica…………………………………………………. Pag. 23 El programa decorativo en las tapas armónicas……………………………... Pag. 29 María, Reina del cielo y la tierra………………………………………………. Pag. 32 La Virgen y el azul………………………………………………………………. Pag. 48 Virginal…………………………………………………………………………… Pag. 51 Hortus omnium deliciarum……………………………………………………. Pag. 54 El jardín de las delicias…………………………………………………………. Pag. 56 Bibliografía………………………………………………………………………. Pag. 57 Lista de Ilustraciones…………………………………………………………… Pag. 59 1 Introducción a iconografía sobre instrumentos musicales está ligada históricamente a la representación de instrumentos en pinturas. En mi ensayo, voy a referirme Lmás específicamente a lo representado en los instrumentos e intentando un acercamiento iconográfico desde otro punto de vista. Para expresarme más claramente, mi idea no es hacer un racconto de cuantos clavecines se encuentran representados en la historia del arte, sino que intrigada por las decoraciones que presentan estos instrumentos, he decidido profundizar en la simbología, la tradición visual y la práctica pictórica que confluyeron en este tipo de ornamentación. El tema es claramente específico y de carácter casi hermético. No se trata de una de las grandes incógnitas de la historia del arte sino solo de una respuesta a un porqué casi personal.
    [Show full text]
  • Painted Wood: History and Conservation
    PART TWO Historical Perspectives 82 Support and Polychromy of Altarpieces from Brussels, Mechlin, and Antwerp Study, Comparison, and Restoration Myriam Serck-Dewaide , comprising painted and sculpted ele- ments (really pieces of liturgical furniture) had already appeared in Cgreat number by the middle of the fourteenth century in different regions. They functioned at this time as tabernacles,1 and cupboards for relics and for individual figures of saints and narrative scenes. Gilded archi- tectural elements, baldachins,2 and rhythmic colonnettes strictly compart- mentalized the space. The painted wings served to close these “cases,” revealing the figures to the faithful only on feast days. Altarpieces were popular throughout Europe in the fifteenth and sixteenth centuries. The regional workshops—for example, Germanic, Franco-Flemish, Spanish, and Italian—evolved differently, varying the dimensions, space, perspective, lighting, and polychromy of the altarpieces (Skubiszewski 1989). Only altarpieces from the historic Brabant region3 are considered here—in particular, the sculpted parts of these Brabantine altarpieces. In the fifteenth century, Brabantine altarpieces evolved toward a more realis- tic expression and a more accentuated relief. Compositions were grouped in successive arrangement, presenting scenes of small characters, related as in a theatrical setting. Over time, the architecture changed, reducing in size, until eventually there was no more than a frame presenting scenes consecrated to the Virgin, to the lives of the saints, or to cycles of the infancy and Passion of Christ. This evolution progressed very slowly dur- ing the mid–sixteenth century, from late Gothic decoration to Renaissance motifs. From the second half of the fifteenth century, Brabantine altar- pieces became so successful that, in order to satisfy the demand, a division of labor became necessary.
    [Show full text]
  • KEYBOARD INSTRUMENTS by Howard Schott
    CATALOGUE OF MUSICAL INSTRUMENTS IN THE VICTORIA AND ALBERT MUSEUM Part I: KEYBOARD INSTRUMENTS by Howard Schott Part II: NON-KEYBOARD INSTRUMENTS by Anthony Baines Catalogue of MUSICAL INSTRUMENTS in the VICTORIA AND ALBERT MUSEUM Part I: Keyboard Instruments by Howard Schott Part II: Non-Keyboard Instruments by Anthony Baines New catalogue entries, supplementary notes and bibliography by James Yorke V&A PUBLICATIONS Catalogue of Musical Instruments, Volume I: Keyboard Instruments Originally published by HMSO, 1968, second edition 1985 Catalogue of Musical Instruments, Volume II: Non-Keyboard Instruments Originally published by HMSO, 1968, second edition 1978 First published as a single volume by V&A Publications, 1998 V&A Publications 160 Brompton Road London SW3 1HW ©The Board of Trustees of the Victoria and Albert Museum, 1998 Keyboard Instruments © Crown copyright 1968,1985 Non-Keyboard Instruments © Crown copyright 1968,1978 Howard Schott and Anthony Baines assert their moral right to be identified as authors of this book ISBN 185177 250 2 A catalogue record for this book is available from the British Library All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the Publishers. Printed in Hong Kong by Imago Front cover: Theorbo by Cristoforo Choc, about 1620. Ivory and ebony neck with rosewood ribbing. 7756-1862. Back cover: Jewelled spinet by Annibale Rossi, 1577. Covered with lapis lazuli, and other precious and semi-precious stones. 809-1869. Publishers' Note: This new single volume edition has been compiled from two volumes previously published separately.
    [Show full text]
  • Frank Hubbard
    Frank Hubbard INTERVIEWED by TOM McGEARY No one involved with the harpsichord today is chord or the glorious examples still extant, 1 unfamiliar with the work of Frank Hubbard. Much of learned nothing. the impetus and direction of the revival of the It was from Hugh Gough, with whom I worked harpsichord during the last two decades has been for a year, that I gained a great deal of information due to his work as a builder, restorer, and historian. about the history of the instrument and the general Mr Hubbard was among the first builders to begin approaches of the musical historian in this field. making harpsichords after historic models—in While in England I also had a brief connection as a contrast to other modern builders who took their third rate 'gamba student with the editor of this inspiration from the twentieth-century piano. He magazine, Edgar Hunt. I inflicted my presence on accomplished what Ralph Kirkpatrick called 'the him in order to get the subsistence allowance that major revolution of this century in harpsichord the G.I. Bill offered. I had to be a student some- building'. His book, Three Centuries of Harpsichord where, so 1 was a student at the Trinity College of Making (Cambridge, Mass.: Harvard University Music. He had the thankless job of teaching me to Press, 1965), is the single most important work in the play the 'gamba, an instrument which I had no time field, valuable for its scholarly presentation of many to practise at that stage of my life. historic documents concerning the harpsichord, its Tom McGeary: You have spent some twenty-five detailed description of instruments, and its attempt to years working with and studying historic harpsi- describe actual building practices of the past.
    [Show full text]
  • Ma/)4I^U<Mmw(A Am^L ~^'U)(Ymc-Mi4(D/X
    Ma/)4i^U<Mmw(A am^l ~^'U)(ymc-mi4(d/X ^•^ CYNTHIA A. HOOVER DIVISION OF MUSICAL INSTRUMENTS NATIONAL MUSEUM OF HISTORY AND TECHNOLOGY J?^^i^mc^^/ and ^lamcno^c/^ SMITHSONIAN INSTITUTION PRESS CITY OF WASHINGTON 1969 Cover: Virginal by Giovanni Battista Bom, 1617 {see pages 22-25) Photo: Robert Lautman For sale by the Superintendent oj Documents, U.S. Government Printing Office Washington, B.C. 20402 Price 40 cents .Ct' The harpsichord and the clavichord represent the two most important types of stringed keyboard instruments used from the 15th through the 18th centuries. By the 19th century, the piano had become the most important domestic keyboard instrument. In this booklet are described a few of the restored Smith­ sonian harpsichords and clavichords that are occasionally on exhibit in the Hall of Musical Instruments or in use in the series of concerts sponsored by the Division of Musical Instru­ ments. Models showing how the sound is produced on these instruments are also on exhibit. A complete list of the keyboard collection is found in A Checklist of Keyboard Instruments at the Smithsonian Institution (Washington, 1967), which is available from the Division of Musical Instruments, Smithsonian Institution, Washington, D.C. 20560. ryuM^icrie'}^^ The harpsichord and its smaller relatives, the virginal and the spinet, have strings that are plucked. The harpsichord is wing-shaped, most virginals and spinets are either rectangular or polygonal. When the harpsichord key is pressed, a wooden jack is raised so that a quill or leather plectrum inserted into the jack tongue plucks the string. When the key is released, the jack falls back into place, the pivoted tongue allowing the plectrum to pass the string without plucking it.
    [Show full text]