A long-running project, I have been spending my ‘free time’ working on a harpsichord - built from scratch.
After over 50 years of work as a builder, restorer, and technician of early keyboard instruments, Allan Winkler is not planning to make any more instruments. I have seen and performed many of his processes and have an inkling of the ingenuity, creativity, and effort that has gone in to creating his world class instruments. I thought it would be a good idea to document these processes as much as possible…what better way than to make an instrument myself?!?
The instrument will represent my execution (with Allan’s help) of Allan’s interpretation of the French double-manual harpsichord by Henri Hemsch (c.1736) that currently lives at the Museum of Fine Arts in Boston, MA.
Because this is a labor of love and has no client, this is a ‘back burner’ project, so is taking as long as it takes. Here, you’ll find some short clips of some of the work. One thing I can say, making this instrument is FUN! The specificity of the goals and the need to get it right create a world where you must slow your work to the pace of the materials.
As a side note, this instrument will be available for sale when it’s done…whenever that will be!
Steam-Bending the Bent Side
Here, we’re bending the bent side - a very cool piece of applied technology. I have to imagine is just as fascinating and mind blowing today as it ever was!
Straight Bridges & Bent Bridges
Here, we are making an 8’ nut bridge - it’s a strange shape in cross section, tapered, and all finished with a handplane. On top of all that, accurate dimensioning is crucial for the function of the instrument.
Hemsch Bridge Bending
And here we are bending the 4’ and 8’ bridges. Like the bent side, we use heat, moisture, and patience to plasticize the material (Pear wood in this case) before forcing it into the shape created by the caul.
Building the Hemsch Keyframes
This is a relatively straightforward piece of woodworking for harpischord building. Rails, stiles, jointery, and it’s all square (or it should be!). As usual, all surfaces are finished with a handplane, and glue-ups use the go-bar deck.
A Wrestplank* Glue-Up (*Pinblock)
Spruce
Maple
Linden (“Basswood”)
Spruce
Balanced veneers, centered hearts, clean glue lines.
Stability is as important as anything for instruments that share our goals for this one. All of this lumber was originally milled at least 5 years ago. After it was selected from the shelf it was rough-milled to about 125% of its finished dimensions, then stickered and shelved for a few months before working it to final dimensions. All lumber that is not 1/4 sawn is milled so it’s hearts are centered, and the orientation of those hearts is used to stabilized the workpiece.