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. chords; what have you found to be the important After World War II Mr Hubbard returned to features of the tone of a good harpsichord ? Harvard University to pursue graduate studies in Frank Hubbard: Well, I am sure there are two English literature. He soon found the study of basic criteria. One is an historical one. A good literature to have little meaning for him. His particular harpsichord is one that sounds like one that the sensibilities required a field where he could exercise composer expected to hear. The other conforms his imagination and capture a vivid personal sense of more to an abstract aesthetic, and that of course is the past and, by the study of documents and objects, more complex to describe. try to recapture and experience the life of the past. There is a very good description of the tone of a It was quite accidental that Mr Hubbard turned to good harpsichord that the harpsichordist Hull- the study of the historic harpsichord—due to the mandel, a pupil of C. P. E. Bach, gave in his article fortunate location of his library reading stall near in l’Encyclopedie methodique where he speaks of a the stacks holding books on musical instruments, his 'quality, fullness, and equality of tone'. I would interest as an amateur violinist in violin making, and translate that into two things. First, the harpsichord the interest of a boyhood friend, William Dowd, in must stay out of the way; you must be able to hear the harpsichord. what the player is doing, what his thoughts are. We begin our interview with Frank Hubbard by The second is to contribute something to the asking him about his early years of involvement with music; that is, to add some beauty of sound which the harpsichord. might not be immediately imaginable to you if you were looking at the notes on a page. One you might Tom McGeary: After you had decided to revive regard as a negative quality, that of not interfering; the historic harpsichord, how did you go about and the other as a positive commentary. acquiring the skills of such an obsolete craft ? Further, in the best harpsichords you will find Frank Hubbard: The only makers of such instru- surprises, such as a sudden reedy brilliance in the ments I had heard of (at least those not speaking tenor, or a profound bass, or the clarity of a bell- outlandish tongues) were Arnold Dolmetsch in like sound in the treble. But all this must be very England and his disciple, John Challis, in Detroit. carefully tempered. The instrument must not have Since I had G.I. Bill support, I decided to go to sustaining power that is too great, because one England. Carl Dolmetsch generously waived his note will then obscure the one that follows; you usual apprenticeship fee and I entered his employ. must not have one part of the instrument that is too At Dolmetsch's my questions were sometimes, but effective at the cost of another. Of course, it is not always, answered. Still, by watching, if not by difficult to find an instrument which is perfect for doing, I learned something of woodworking. What I all things. did learn from the Dolmetsches was the kind of Tom McGeary: Do these desirable features of a compulsiveness that makes a real craftsman, a good harpsichord vary with type of instrument or respect for good work, and integrity of both style of composition ? materials and work. Of the history of the harpsi- chords ; to what extent do you think we really have an idea of how harpsichords sounded three hundred years ago? After all, the surviving examples may have changed or deteriorated in the intervening years. Frank Hubbard: I think that question could be answered 'yes' and 'no'. Probably, we've heard the sound; but whether we have been conscious of the sound is another question. I think probably we have, to a certain extent, rejected the sound when we heard it, or felt that it wasn't suitable—our imaginations weren't sufficient to see what could be done to some of those sounds. I have seen this happen in my own life-time. In my book I mentioned that I felt that the seventeenth-century native tradition of French making was feeble and weak. I would now revise that entirely and say that it was highly suitable for its purpose. If you have sufficient imagination, musical tones which at first, in an arbitrary way, do not seem beautiful, in point of fact are much more useful frequently than ones that do seem beautiful. You can see this in organ building. Very often the best stop is not one that is seductive if you play only one note; rather, it is the one which combines well and is useful in many different contexts. Tom McGeary: In general then, what elements of sound quality should a harpsichord maker try to develop in his instruments? Frank Hubbard: Well, obviously balance. An instrument in which different sections of the Frank Hubbard: Yes. A French eighteenth-century compass can be used simultaneously and not composer would be directing his compositional overpower one another. Related to this is a change efforts very much toward exploiting the beauty of of timbre from one end of the instrument to the tone of the instrument, making it sound well; and in other. Much music is really registered, exploiting many ways he is the favourite composer for an this change. For example, Scarlatti will have a instrument maker because he is the most flattering. phrase which is first sounded at the top of the An earlier composer, on the other hand, would keyboard, then lower, and finally still lower. This probably be dealing with more abstract musical effect is the very same thing as changing stops. concepts, where one is directing one's attention to Therefore, I think that for many purposes an the specific musical line and the technical instrument with a great change of colour from one compositional devices the composer is employing. end to another is useful. However, if we are For these earlier composers the Italian type of playing a standard, learned fugue, this change of harpsichord would be the best; but the instruments timbre to some extent gets in the way and can be that were being made in northern Europe at that confusing. Therefore, I think this quality is specific to time which resemble them closely— being of lighter the music; colouristic music requires it, and music construction, with shorter scales, short sustaining of a more substantial style possibly doesn't. time, and so on—would also be appropriate. And certainly the length of sustaining power is Therefore, with the earlier instruments you have to extraordinarily important. John Challis once stated concentrate to a greater extent on an instrument to us as an a priori, that the longer the sound sustains which stays out of the way, which clarifies the the better the harpsichord. This is absolutely false! music. Whereas with the later, more powerful You find that instruments which sustain a long time instruments you can permit yourself the luxury of sound confused (this is characteristic of some those elegancies of sound. As to the big German eighteenth-century German ones). In other words, instruments, I have never found any great beauty of something is still continuing that has become tone in them; the smaller German instruments, irrelevant and should have been stopped. However, however, are very like the French ones. a certain tone quality, a certain clarity and freshness Tom McGeary: You have been referring to the of sound gives the illusion that a sound is sound quality of various types of historic harpsi- sustaining and continuing, when in fact it has been almost entirely attenuated. So an the sharps; you must play out at the front of the instrument with that clear kind of freshness gives an keyboard.