page_title: History of the harpsichord
section_title: England
hierarchical_section_title: History of the harpsichord / England
context_page_description: The harpsichord was an important keyboard instrument in Europe from the 15th through the 18th centuries, and as revived in the 20th, is widely played today.
context_section_description: The harpsichord was important in England during the Renaissance for the large group of major composers who wrote for it, but apparently many of the instruments of the time were Italian imports.  Harpsichord building in England only achieved great distinction in the 18th century with the work of two immigrant makers, Jacob Kirckman (from Alsace) and Burkat Shudi (from Switzerland).  The harpsichords by these builders have been described by the famous builder-scholar Frank Hubbard as "possibly the culmination of the harpsichord maker's art".
  Visually, the instruments are considered very impressive, boasting a great deal of veneering and marquetry.  Sheridan Germann writes of them, "English harpsichords must be acknowledged as great furniture, sumptuous in textures of wood and brass and fine joinery, and built to last forever."
  The sound of the Kirkman and Shudi instruments is described by the authors of Grove Dictionary as "enormously rich and powerful"; "whereas that of a French harpsichord may be compared to the sound of a woodwind ensemble, the tone of these developed English instruments, with their brilliant trebles and imposing basses, may be compared to that of a brass band. The sound thus lacks the subtlety of a French instrument but more than compensates by its volume and sensual impact. ... The sound of these instruments sometimes tends to call attention to itself rather than merely serving as a vehicle for projecting the music, a quality that may in abstract terms be viewed as a defect despite its splendour."  A similar opinion was held by Frank Hubbard, who wrote:  "For sheer magnificence of tone no other instrument ever matched them ... The only reproach that might be leveled against these instruments is that they are too good.  The tone is so luxurious and characteristic that it almost interferes with the music."
  Few modern replicas of the Kirkman/Shudi style instrument have ever been built; possibly because of the tonal issue just raised.  Germann also notes that the solid construction of the original instruments means that quite of few of them are still in use today, lessing the demand for new ones.
  The Shudi firm was passed on to Shudi's son-in-law John Broadwood, who adapted it to the manufacture of pianos and became a leading creative force in the development of that instrument.
caption: Virginal, probably English, late 17th century
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