PIPARTE

I make copies after the early triple or double fretted clavichords up to late 18th century unfretted instruments. They have an excellent touch and sound, giving the player the possibility to express the whole dynamic range, from pianissimo to fortissimo.

After late 17th century German Instruments
C/E-c3 (with split keys for F♯ and G♯), double fretted

Sound sample: Matthias Weckman – Toccata vel praeludium d-moll – Siebe Henstra

After Donat, 1700
C-c3, double fretted

Sound sample: Carlos Seixas – Sonata 75 (Largo) in A minor – Private recording

After Swedish instruments from the first half of the 18th century
C-e3 (C-c0 with extra 4' string), unfretted

Sound sample: Johann Jakob Froberger – Partite “Auff die Maÿerin” (6 variations) – Menno van Delft, live recording

After Johann Adolph Hass, Hamburg, 1761
FF-f3 (FF-c0 with extra 4' string), unfretted

Sound sample: Johann Sebastian Bach – Canon in Hypodiatesseron, al roverscio e per augmentationem, perpetuus (Art of the Fugue, BWV 1080) – Menno van Delft

After Johann David Gerstenberg, Geringswalde, 1760
C-e3, unfretted

After Christian Gottlob Friederici, Gera, 1765
FF-f3, unfretted

Sound sample: Carl Philipp Emanuel Bach – Preussische Sonate I, 2nd and 3rd movement – Pieter-Jan Belder

After Spath & Schmahl, Regensburg, 1787.
AA-f3, double fretted

Praceta Dom João I, loja 57A, 2785-379 Caparide, Portugal