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George Malcolm, CB.E. an INTERVIEW www.harpsichord.org.uk George Malcolm, CB.E. AN INTERVIEW TO a very large number of concert goers Editor: Do you still play your Shudi the name of George Malcolm is the one Broad-wood? which springs to mind most readily at the George Malcolm: I have not got it. I mention of 'harpsichord'. At 56 he is the got rid of that some time ago, because, doyen of British harpsichordists. He you know, an eighteenth-century agreed at very short notice to be instrument needs a great deal of keeping interviewed in the few days between the in order. You have to be like one of Darlington Summer School and an those young men with a motor-bike, who engagement at Harrogate, and welcomed spends every Saturday afternoon taking it your editor to his lovely home in Cheyne apart and putting it together again; and I Walk, Chelsea. The house was built as haven't that kind of skill or patience or the central one of a group of three, the time. And this Shudi was beginning designed by Ashbee; but one of its to get into a condition of which I was supporters has been destroyed to make rather ashamed. So I decided to dispose way for 'development'. The interview of it. It is now in Holland being very well took place in a lofty studio with a north looked after by somebody else. light—cool on one of the hottest days of Editor: That's nice—I wondered—can summer. you tell me which is your favourite Editor: How did you first come to play harpsichord now? the harpsichord? George Malcolm: Well my favourite for George Malcolm: Well—I left the general purposes is by Robert Goble of R.A.F. in 1946 when I was demobilised, Oxford, particularly if I can have it and I wanted to spend my gratuity on serviced by Malcolm Russell, who is something: and I decided that a probably the finest harpsichord-regulator harpsichord would be an amusing sort of in the world. Occasionally I want some- toy to have. 1 did not know anything thing different—perhaps a reproduction about the harpsichord in those days. My French or Italian instrument—but the training had been that of a purely Goble harpsichord gives me a number of conventional concert pianist, and as a facilities that I feel I can make use of. student I had never even moved among and, of course, they are beautifully made: the kind of people who were interested in you know exactly where you are with a baroque music or old instruments. I Goble. The sound, to my ears, is entirely scarcely knew the difference between a acceptable—it is not an exciting sound— clavichord and a harpsichord; but I it is a wonderful instrument for any kind thought it would be fun to possess an old of continue or accompanying work where keyboard instrument. I had the great good a certain quick dynamic flexibility and fortune to find a very good instrument, a unobtrusiveness are required. You know Shudi-Broad-wood of 1775, at an I'm not an authenticist at all, and I use auction. There was not very much the geared pedals that the Goble competition for them in those days and I harpsichord (and for example the Goff got it very cheap. I had it done up and harpsichords also) have for things like put it in my studio—literally as a toy— fading off an appoggiatura—fading off a something to amuse myself with between feminine cadence—which is one of the bouts of piano practice, with no intention great embarrassments when playing of ever using it professionally. In 1946 it harpsichord continue in all these concerti was not anything like so usual to be in grossi. The strings, on the last cadence possession of a harpsichord as it is now, do the inevitable diminuendo on a down and when people found that I had got this bow, and the harpsichord is left clanking very good one, I started to get asked to away or having to miss out the last chord take it to concerts and play it, and then altogether. I feel that this particular thing the whole thing very quickly escalated about the feminine cadence or the long and before I knew where I was, I was appoggiatura was a standing defect of the getting quite a lot of harpsichord classical harpsichord. Couperin engagements and very few piano ones, practically refers to it in L'Art de and it just went on from there. Nothing Toucher; and I find that a modern could have been less intentional than my instrument on which that can be dealt career as a harpsichordist. If you had with, is a very good thing to use. asked me as a student if I would ever Editor: I rather agree. Now, one of my play the harpsichord I should have ideas is to combine this interview with laughed. I still feel that the harpsichord one with Robert Goble: to pair off the was a bit of an accident, and I'm still not player and the maker. How would you quite resigned to being a harpsichordist. In feel about that? fact in this last couple of years I have done quite a lot more piano playing. http://www.harpsichord.org.uk www.harpsichord.org.uk even people like Couperin acknowledged the expressive deficiencies of the classical harpsichord— they still won't. But some of the modern harpsichords are just machines—there's no question about that—they are just gigantic things made for moving about in concert halls, with frames so thick that nothing will vibrate, and they have no sound in them at all. I find some of the German factory-made instruments are just absolutely useless— vast armed machines; but you can't hear them in the next room. I like to strike a balance between 'mod. cons.' and a good sound. Editor: I agree that the Goble is a very good compromise between the two. George Malcolm: A very interesting Goble instrument that I played at the Flanders Festival at Bruges last year was his Taskin reproduction, and of course that has no mod. cons, at all. Editor: It is interesting to notice how many makers are going over to making reproductions of the old ones. George Malcolm: Well—I think this is actually a dangerous thing. Yes. most of the best harpsichord makers are now Photo: LOTTE ME1TNER-GRAF, engaged exclusively in making exact London reproductions of old instruments, and they are learning a lot by doing so. But it can't go on indefinitely. I don't believe George Malcolm: 1 should be very that at any period of history this was ever happy to be associated with Robert the way the great craftsmen worked. Goble. He has been very kind to me Editor: They would always be looking over the years, particularly when, at my for improvements? last-minute request, he sent his best and George Malcolm: Exactly—now the newest harpsichord, uninsured to interesting thing is that when Moscow for my benefit. Thank God we harpsichords first started to be built again got it back in one piece! He's been very in modern times, the pioneer craftsmen. kind to me. like Arnold Dolmetsch. took as their Editor: I noticed one of Goble's working models the late eighteenth- harpsichords in Warsaw, in, T think, the century harpsichords, as representing the Philharmonic Hall there. highest development that harpsichord George Malcolm: I didn't know they making had reached, and were proposing had one in Warsaw. to go on from there. It was clearly in their Editor: I was there about three or four minds that the harpsichord should years ago and went to a concert when continue to be developed. As you know, they played Vivaldi's Seasons, and on the Arnold Dolmetsch even managed to get a platform was a Goble harpsichord, in use sustaining pedal mechanism into his for the continuo and for some solos. harpsichord! Now this is of course George Malcolm: Well I suppose it considered absolutely wrong, this is a was about two years ago when I was last mortal sin, you are not even allowed to in Warsaw, and I did not know that there have a pedal on your harpsichord as Bach might be a Goble there, otherwise 1 did not have one! should have tried to get hold of it! Editor: Do you teach? Of course, T know it is a very vexed George Malcolm: T don't teach—I question what kind of harpsichord one have one pupil at the moment (Roger plays. Most of my colleagues won't have Pugh)—I'm never in one place long anything to do with what they consider to enough. T started to teach at the be a modernized version of the Academy, but I had to be away for so harpsichord. They don't like the sound: much of the lime that I gave it up after a they need something more resonant, and year. What I do is to go down to the they don't like the gadgets. They refuse Summer School at Darlington —I came to use the gadgets in fact because Bach back yesterday, in fact. But that is a did not have gadgets. And although master class—I don't teach privately. I think lessons should be regular. Editor: Which do you prefer, the classics of the harpsichord or the modern concert repertory? George Malcolm: I very much prefer the classics http://www.harpsichord.org.uk www.harpsichord.org.uk —I play them almost exclusively.
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