Clavichords
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 InstrumentsC/E-c3 (with split keys for F♯ and G♯), double fretted
Sound sample: Matthias Weckman – Toccata vel praeludium d-moll – Siebe Henstra
After Donat, 1700C-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 centuryC-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, 1761FF-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, 1760C-e3, unfretted
After Christian Gottlob Friederici, Gera, 1765FF-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
