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Clavier

A clavier is an early stringed keyboard instrument developed in Europe during the late Middle Ages and widely used through the Baroque period, including models such as the clavichord, harpsichord, and the nascent fortepiano that preceded the modern piano.^[1]^[2] These instruments produce sound by striking or plucking strings with mechanisms activated by a manual keyboard, allowing for polyphonic music and expressive performance in domestic, chamber, and early concert settings.^[2] The term "clavier" originates from the Old French clavier, meaning "key bearer," derived from the Latin clavis for "key," reflecting its core mechanism of finger-operated keys that control sound production.^[1]^[2] Historically, the clavichord—first documented in 1404—emerged as the simplest and quietest variant, with tangent mechanisms striking strings directly for subtle dynamic control, while the harpsichord, first mentioned in 1397, employed jacks to pluck strings for a brighter, more resonant tone suitable for larger ensembles.^[2] In German-speaking regions during the 17th and 18th centuries, "Klavier" served as a generic label for such keyboard instruments, often encompassing both clavichords and harpsichords without specifying a single type.^[3] Claviers played a pivotal role in the evolution of Western keyboard music, enabling composers like Johann Sebastian Bach to explore well-tempered tuning and complex counterpoint in works such as The Well-Tempered Clavier (1722 and 1742), which demonstrated the instruments' versatility across all 24 major and minor keys.^[3] The fortepiano, invented by Bartolomeo Cristofori around 1700, introduced hammer action for greater dynamic range, bridging claviers to the louder pianos of the Classical era and influencing performers like Wolfgang Amadeus Mozart.^[2] Though largely superseded by the piano in the 19th century, claviers remain essential for historically informed performances, with surviving examples from the 16th century onward preserved in museums and informing modern replicas.^[2]

Etymology and Terminology

Origin of the Term

The term "clavier" derives from the Latin clavis, meaning "key," combined with the suffix -ier, evolving into Old French "clavier" by the 12th century, where it initially denoted a key-bearer or guardian of keys, applicable to any key-like device.^[4]^[5] In non-musical contexts, early attestations appear before 1175, as in Benoît de Sainte-Maure's Ducs de Normandie, referring to a custodian responsible for locks and access.^[5] By the Renaissance period, "clavier" specialized to describe keyboard mechanisms in musical instruments, marking a shift from general utility to specific musical application. The earliest documented musical usage dates to French texts around the 14th century, particularly in descriptions of organ keyboards, with a precise attestation from 1419 defining it as the "ensemble of keys on certain musical instruments."^[5]^[6] This emergence coincided with the refinement of keyboard layouts on organs, where the term captured the array of levers or keys operated by hand to control sound production. In the 15th century, the term's application broadened beyond organs to encompass keyboards of plucked and struck string instruments, such as proto-harpsichords and clavichords, reflecting the diversification of keyboard technology during the late medieval and early Renaissance eras.^[6] This expansion highlighted "clavier" as a versatile descriptor for the key-bearing interface central to emerging polyphonic music practices. Medieval Latin treatises distinguished the keyboard as manuale, derived from manus ("hand"), emphasizing its manual operation in contrast to pedalboards or other mechanisms, whereas "clavier" represented the vernacular French adoption focused on the physical keys themselves.^[7]

Linguistic Variations

The term "clavier" originated in French as a designation for keyboard instruments, deriving from Old French "clavier" meaning "key-bearer," and was in use by the 16th century to refer to mechanisms like those in early stringed keyboards and organs.^[8] This French usage influenced neighboring languages, with the German "Klavier" adopting the term directly from French "clavier" to denote stringed keyboard instruments such as the harpsichord and clavichord during the 17th and 18th centuries.^[9] Similarly, in Italian, "clavicembalo"—from Medieval Latin "clavicymbalum," combining "clavis" (key) and "cymbalum" (cymbal)—emerged as a specific term for the harpsichord, reflecting the plucking mechanism akin to a struck cymbal.^[10] In 18th-century musical treatises, "clavier" functioned as a generic term for any keyboard instrument, allowing flexibility in performance. Johann Sebastian Bach exemplified this in the titles of his works, such as Das wohltemperierte Clavier (Books I and II, published 1722 and 1742), where "Clavier" indicated suitability for harpsichord, clavichord, or even organ, without specifying a single type.^[11] This broad application underscored the term's adaptability across instrumental contexts in Baroque-era compositions. Over time, linguistic shifts narrowed the term's scope in some languages. By the late 18th century in Germany, "Klavier" became synonymous with the emerging pianoforte, excluding the organ and distinguishing it from earlier generic uses.^[12] In modern French, "clavier" retains its meaning as "keyboard," often applied to piano or synthesizer interfaces, while historical connotations persist in scholarly discussions of early instruments like the clavichord.^[12]

Historical Development

Early Origins

The origins of clavier instruments lie in the ancient hydraulis, a water-powered organ invented by the engineer Ctesibius in Alexandria during the 3rd century BCE. This device utilized keys connected to sliders that controlled valves, allowing pressurized air—stabilized by water to prevent wind gusts—to flow through pipes and produce sound, establishing the foundational principle of keyboard actuation in musical instruments.^[13] As Roman technology disseminated the hydraulis across the Mediterranean, medieval innovations shifted from water mechanisms to manual bellows for air supply, enabling more portable designs. By the 12th century, these advancements resulted in the portative organ, a compact bellows-blown keyboard instrument small enough to be carried and played by one performer, often depicted in European manuscripts as an aid for chant accompaniment in religious processions.^[14]^[15] Stringed clavier instruments emerged in 14th-century Europe, transitioning from wind-based precursors to mechanisms that actuated strings via keys. The chekker, an early example documented in English royal wardrobe accounts around 1390, represented a primitive plucked-string keyboard, likely employing jacks to sound strings in a manner foreshadowing later developments.^[16] The harpsichord itself is first attested in a document from 1397. A pivotal mechanical innovation appeared around 1400 with the introduction of tangent action in struck-string prototypes like the early clavichord, where depressing a key raised a small metal blade—or tangent—to strike and sustain string vibration against a fixed bridge, providing direct player control over dynamics and setting the stage for Renaissance refinements in keyboard construction.^[17]

Evolution Through the Baroque Era

During the 16th century, Italian instrument makers refined early clavier designs, particularly in the regions of Naples and Venice, where the spinet—a compact, wing-shaped variant—and the harpsichord emerged as prominent plucked keyboard instruments. These developments built on medieval prototypes, emphasizing lighter construction with cypress wood for the soundboard and case to produce a brighter tone suitable for intimate settings.^[18]^[19] Flemish craftsmanship further advanced these instruments around the same period, with Hans Ruckers the Elder establishing a influential workshop in Antwerp by the late 1580s. By approximately 1590, Ruckers and his contemporaries introduced double-manual harpsichords, allowing players to couple or transpose keyboards a fourth apart for greater versatility in pitch and registration, which became a hallmark of Northern European designs.^[20]^[21] The Baroque era (1600–1750) marked the peak of clavier adoption, as these instruments integrated deeply into European court music, serving as continuo foundations in ensembles and solo contexts. In France, the clavecin dominated with its elegant, ornamented style under royal patronage, exemplified by makers like the Blanchet family who refined single- and double-manual models for Versailles performances.^[22] In contrast, German traditions emphasized polyphonic complexity, where composers like Johann Sebastian Bach adapted works across clavier types, including harpsichords for public settings and clavichords for private practice, to exploit their respective timbres and expressive potentials.^[23]^[24] Technical innovations during this time enhanced clavier capabilities, with keyboard ranges expanding from four to five octaves—typically from F1 to F6—to accommodate broader harmonic explorations. Builders added multiple stops, such as lute or nasal registers, enabling timbral shifts and limited dynamic variation through selective string plucking, though true touch-sensitive volume remained elusive.^[25]^[26] Around 1700, Bartolomeo Cristofori's pianoforte emerged in Italy, offering hammer-action dynamics that began challenging the harpsichord's dominance in expressive keyboard roles.^[27]

Types of Clavier Instruments

Harpsichord

The harpsichord, a quintessential plucked-string keyboard instrument within the clavier family, features a distinctive wing-shaped body typically constructed from woods such as pine, beech, or poplar, with strings made of metal such as brass or iron that are plucked by plectra often fashioned from quill or leather attached to wooden jacks.^[28]^[29] When a key is depressed, it raises the corresponding jack, allowing the plectrum to pluck the string as the jack ascends and then falls back, damped by a piece of wool or leather to prevent sustained vibration.^[30] Most harpsichords include multiple registers, commonly 16-foot (producing a pitch one octave lower than notated) and 8-foot stops, which can be engaged or disengaged via hand stops or pedals to vary timbre and volume levels, with double keyboards (manuals) on larger models enabling quick registration changes without interrupting play.^[31] Historical variants of the harpsichord reflect regional preferences and innovations. Italian models from the 1500s were notably lighter and more compact, often featuring a single manual and single-strung 8-foot disposition in thin-walled cases built nearly as delicately as guitars, prioritizing portability and a clear, intimate tone suitable for domestic settings.^[32]^[33] In contrast, French harpsichords of the 1700s, exemplified by the ornate instruments crafted by the Blanchet family—such as those by François-Étienne Blanchet—boasted elaborate decorations including painted lids, gilded elements, and expanded mechanisms, often rebuilding earlier Flemish models to accommodate broader compasses and richer sonorities for courtly performances.^[34]^[35] English virginals served as compact precursors or variants, adopting an oblong or rectangular form with strings running parallel to the keyboard, making them ideal for smaller spaces while maintaining the essential plucked mechanism of the harpsichord family.^[36]^[37] The harpsichord's acoustic properties produce a bright, articulate tone characterized by a non-legato attack due to the fixed plucking action, which delivers consistent volume regardless of touch strength, though subtle dynamic variations (up to 5 dB in lower registers) arise from differences in plucking position and speed.^[29]^[31] This even dynamic level and clear, non-sustaining timbre encouraged elaborate ornamentation in Baroque music to achieve expressive contrast, as the instrument's soundboard amplifies vibrations with a resonant clarity suited to polyphonic textures.^[31] By around 1700, the harpsichord's range had evolved to a full chromatic compass from C to c''' (approximately five octaves), an expansion from earlier limited spans that allowed greater versatility in ensemble and solo contexts.^[38]^[39] Unlike the clavichord, which permits dynamic expression through variable touch sensitivity on struck strings, the harpsichord's plucked mechanism favored projection in larger settings.^[31]

Clavichord

The clavichord is a compact, rectangular keyboard instrument renowned for its intimate sound production and expressive capabilities, making it ideal for private musical practice and composition.^[40] Unlike louder clavier variants, its struck-string mechanism allows performers to achieve subtle dynamic variations through direct touch sensitivity, fostering a personal connection between player and instrument.^[41] This design emerged in the late Middle Ages and persisted as a household staple, particularly in German-speaking regions, where its quiet volume suited domestic settings without disturbing others.^[40] The clavichord's sound is generated when a key is depressed, raising a small metal blade called a tangent that strikes and sustains a pair of brass or iron strings stretched across the instrument's soundboard.^[41] This direct mechanical linkage enables precise control over volume and timbre: stronger key pressure produces louder tones, while sustained or modulated pressure after striking allows for nuances like bebung, a vibrato effect achieved by gently rocking the key to alter string tension.^[41] The tangent also serves as both exciter and bridge, transmitting vibrations to the soundboard, and a damper cloth mutes the string upon key release, ensuring clean articulation.^[41] Typically featuring a single manual with keys of varying lengths—longer for naturals and shorter for accidentals—the instrument's simple action demands finesse, rewarding skilled players with unparalleled expressivity.^[40] Historically, the clavichord gained popularity in German households from the early 15th century onward, serving as an accessible tool for music education, rehearsal, and improvisation due to its affordability and portability.^[40] Its limited projection—barely audible beyond a few meters—confined it to private use, contrasting with concert-oriented instruments, though it influenced composers like Carl Philipp Emanuel Bach, who favored models by the Silbermann family.^[42] Makers such as Gottfried Silbermann refined the design in the early 18th century, enhancing tonal clarity and build quality while preserving its compact form, often around 1.3 to 1.5 meters long.^[43] By the mid-18th century, the instrument's role in domestic music-making had solidified, with surviving examples attesting to its widespread adoption among amateur and professional musicians alike.^[42] Technically, early clavichords spanned about four octaves, commonly from C to c''' (approximately 49 to 53 keys), though some extended to FF-f³ for broader range.^[40] Fretting systems predominated in initial designs, where a single string pair served multiple adjacent notes via positioned tangents, optimizing space but introducing occasional intonation compromises from harmonic interference.^[41] By the late 17th century, unfretted models—assigning dedicated strings to each note—began appearing, becoming standard around 1750 for purer tuning and freer polyphony, as seen in instruments by makers like Johann Heinrich Silbermann.^[40] These specifications, combined with a shallow key dip of 5-8 mm, underscored the clavichord's emphasis on tactile precision over power.^[41]

Fortepiano

The fortepiano, developed around 1700 by Bartolomeo Cristofori in Italy, represents an early hammer-action keyboard instrument within the clavier family, bridging plucked-string models like the harpsichord to the modern piano.^[2] Unlike the fixed-volume plucking of the harpsichord or the subtle touch-sensitivity of the clavichord, the fortepiano uses leather-covered hammers that strike metal strings, allowing for greater dynamic range—from soft (piano) to loud (forte)—controlled by key velocity, with escapement mechanisms enabling repetition and an una corda stop for tonal variation.^[2] Early models featured a five-octave range (often FF to f''') in a rectangular or wing-shaped case of wood, producing a lighter, more delicate tone than later pianos, suited to chamber music of the Classical era.^[2] It gained prominence through makers like Gottfried Silbermann and Anton Walter, influencing composers such as Mozart, though it was gradually superseded by louder, iron-framed pianos in the 19th century. Surviving 18th-century examples inform modern historically informed performances.^[2]

Musical Repertoire and Usage

Key Composers and Works

One of the earliest printed collections of keyboard music for the virginals, a precursor to later clavier instruments, is Parthenia (1613), which includes pavans, galliards, and other pieces by William Byrd, John Bull, and Orlando Gibbons, showcasing the polyphonic and variational styles of the English Renaissance.^[44] As clavier instruments evolved into the Baroque period, George Frideric Handel's Eight Great Suites for harpsichord (HWV 426–433, published 1720) bridged Renaissance traditions with more elaborate dance-based structures, featuring preludes, allemandes, courantes, and occasional freer movements like fugues or airs.^[45] Johann Sebastian Bach stands as a central figure in clavier repertoire, with The Well-Tempered Clavier (Books I and II, composed c. 1722 and 1742, respectively) presenting 48 preludes and fugues that systematically explore all 24 major and minor keys, demonstrating advanced contrapuntal techniques and equal temperament.^[46] His Six English Suites (BWV 806–811, c. 1715–1720) draw on French and Italian influences through ornate preludes and galanteries, while the Six French Suites (BWV 812–817, c. 1722) emphasize concise, dance-derived movements suited to the harpsichord's clarity.^[47]^[48] François Couperin contributed extensively to French clavier music through his 27 Ordres (published in four books, 1713–1730), which blend traditional dances with programmatic character pieces and employ the style brisé—an arpeggiated, lute-like texture that enhances the harpsichord's resonant qualities.^[22] Domenico Scarlatti composed 555 keyboard sonatas, 30 of which were published during his lifetime as Essercizi per gravicembalo (1738–1739), renowned for their virtuosic demands, incorporating Spanish folk elements like guitar-inspired strumming patterns and rapid scalar passages, making them particularly idiomatic for the harpsichord.^[49]^[50]

Influence on Modern Keyboard Music

The transition from clavier instruments to the piano in the late 18th century marked a pivotal adaptation of established keyboard techniques, particularly evident in the sonatas of Joseph Haydn and Wolfgang Amadeus Mozart. Haydn's early sonatas, composed before 1780, were primarily intended for the harpsichord or clavichord, but by the early 1780s, he increasingly wrote for the fortepiano, incorporating dynamic contrasts like crescendos and rapid alternations (f-p-f-p) that exploited the instrument's touch sensitivity.^[51] For instance, his Sonata in E-flat major, Hob. XVI:49 (c. 1788), represents one of the first explicitly composed for fortepiano, featuring refined arpeggios and virtuosic passages suited to its lighter action.^[51] Mozart similarly adapted clavier practices, such as contrapuntal textures and ornamental flourishes from Baroque harpsichord music, into his piano sonatas during the 1770s and 1780s, with the fortepiano serving as the bridge instrument that allowed for expressive dynamic shading absent in the harpsichord. His Sonata in C minor, K.457 (1784), originally titled for "clavier," exemplifies this shift, blending galant lyricism with fortepiano-specific phrasing.^[52] The 20th-century revival of clavier instruments, spurred by the early music movement after 1950, reinvigorated interest in harpsichords and clavichords through historical reconstructions and performances. Builders like Wolfgang Zuckermann played a key role, introducing affordable do-it-yourself kits in the late 1950s that democratized access and fueled the postwar renaissance of Baroque keyboard practices.^[53] These efforts extended clavier timbres into broader cultural contexts, including film scores, where harpsichords evoked period authenticity in works like Wuthering Heights (1939, with later revivals) and Henry V (1989), often drawing on recordings by performers such as Trevor Pinnock to capture the instrument's plucked resonance.^[54] Pinnock's pioneering harpsichord interpretations, including Bach concertos with The English Concert, exemplified this revival by emphasizing historically informed articulation and ornamentation.^[55] In contemporary music, clavier influences persist in electronic keyboards and synthesizers, which emulate harpsichord and clavichord timbres through digital modeling of plucked-string excitation and fixed dynamics. Synthesis algorithms, such as those using parallel filters to replicate soundboard resonance and velocity-dependent harmonic content, allow modern instruments to approximate the harpsichord's bright, non-sustaining tone for genres from electronic classical to pop.^[29] Pedagogically, clavier instruments maintain a vital role in conservatories, where they facilitate counterpoint study by enforcing precise articulation and hand independence, as seen in courses analyzing Baroque works on historical replicas to bridge theoretical rules with practical improvisation.^[56] This approach, rooted in 18th-century figured bass practices, enhances musicians' understanding of polyphonic structures in pieces like Bach's inventions.^[57]

Other Uses

As a Surname

Christian Clavier (born May 6, 1952, in Paris, France) is a prominent French actor, screenwriter, film producer, and director.^[58] He gained widespread fame for his role as Jacquouille la Fripouille in the comedy film Les Visiteurs (1993), which he co-wrote and which became one of the highest-grossing French films of all time. Clavier reprised the role in the sequels Les Visiteurs II: Les Couloirs du temps (1998) and Les Visiteurs 3: La Révolution (2016), contributing to the franchise's enduring popularity in French cinema. Beyond acting, Clavier has been politically active, notably as a close supporter of former French President Nicolas Sarkozy, attending campaign rallies and publicly endorsing his policies during the 2007 and 2012 presidential elections.^[59] Jérôme Clavier (born May 3, 1983, in Chambray-lès-Tours, Indre-et-Loire, France) is a French athlete specializing in pole vaulting.^[60] Standing at 185 cm and weighing 73 kg, he represented France at the 2008 Beijing Olympics, where he finished sixth in the men's pole vault final with a height of 5.60 meters.^[61] Clavier achieved significant domestic success, winning the French indoor pole vault championship four times (2002, 2003, 2004, 2005) and the outdoor title twice (2002, 2004). On the international stage, he earned a silver medal at the 2011 European Athletics Indoor Championships in Paris with a clearance of 5.76 meters.^[62] Among historical figures bearing the surname Clavier, Étienne Clavier (1762–1817) stands out as a French Hellenist scholar and magistrate who contributed to classical studies through translations and legal work in Paris. Such individuals from 18th- and early 19th-century France often held administrative or intellectual roles, reflecting the surname's occupational origins related to key-keeping or official duties, though without prominent ties to music or arts beyond academia.

Geographical Locations

Clavier is a municipality in the province of Liège, within the Wallonia region of Belgium, specifically in the arrondissement of Huy. It was established on January 1, 1977, through the merger of six former communes: Bois-et-Borsu, Clavier, Les Avins, Ocquier, Pailhe, and Terwagne.^[63]^[64] The municipality spans an area of 79.12 km² and recorded a population of 4,736 inhabitants as of January 1, 2021, yielding a density of approximately 60 inhabitants per km²; estimates place the 2020 figure at around 4,600. As of 2025, the estimated population is 4,989, yielding a density of approximately 63 inhabitants per km².^[65] Characterized by rural landscapes, including farmland and small villages, Clavier lies about 10 km southeast of the town of Huy and features natural resources such as mineral water extraction in some areas.^[64]^[65] In this part of Wallonia, the predominant language is French, with the local Walloon dialect—a Romance language distinct from standard French—used in everyday speech among residents.^[66] The name Clavier has no established historical link to musical keyboard instruments in this geographical context, appearing instead as a toponym of coincidental similarity to the French term for "keyboard."^[66] Historical variants of the name "Clavier" as a place designation are rare and largely obsolete, with minor archival references in medieval French records to small fiefs or estates from the 12th century that no longer exist as distinct entities. Limited toponymic mentions also appear in Swiss and Canadian contexts, but these lack prominence or current geographical significance.^[67]

Brand and Company Names

Clavia Digital Musical Instruments AB, commonly known as Clavia, is a Swedish manufacturer of electronic musical instruments founded in 1983 by Hans Nordelius and Mikael Carlsson in a basement in Stockholm.^[68] The company gained prominence for its Nord brand of virtual analog synthesizers and stage pianos, which emulate the sounds of traditional clavier instruments such as harpsichords, clavichords, and early pianos through advanced sampling and modeling techniques.^[68] Key products in this line include the Nord Stage series, first introduced in 2005, which integrates piano, organ, and synthesizer modules to recreate acoustic and electromechanical keyboard timbres for live performance and studio use.^[69] In the 19th century, several European piano manufacturers incorporated "Clavier" into product names to denote innovative keyboard designs, particularly in France where the term historically referred to keyboard instruments.^[70] Pleyel, Wolff et Cie, a prominent Paris-based firm established around 1850 by Camille Pleyel and composer Auguste Wolff, produced models like the "nouveau clavier transpositeur," a transposing upright piano patented in the mid-1850s that allowed key shifts via a mechanical pedal system.^[71] These variations emphasized compact, practical designs for home practice and performance, but the specific Wolff-era branding and operations ceased by the early 20th century as the company evolved under new leadership.^[70] Similarly, in the United States, the Virgil Practice Clavier Company, founded by educator Almon Kincaid Virgil around 1885, marketed silent "practice claviers" as non-resonant keyboards for technique development without disturbing others, with production continuing into the 1910s before becoming obsolete.^[72] In the digital era, "Clavier" appears in minor applications within music software, such as virtual instrument plugins for digital audio workstations (DAWs) that simulate historical clavier sounds like the harpsichord. For instance, during the 2010s, developers released affordable VST plugins emulating Baroque-era keyboards, often bundled in production suites to provide authentic timbres for composers and producers recreating period music.^[73] These tools, while not forming major brands, reflect the enduring appeal of clavier aesthetics in modern electronic music production.

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[PDF] The Belle Skinner Collection of Old Musical Instruments
Etienne Blanchet, the best French harpsichord maker of the period. Later he succeeded. Blanchet in the manufacture of beautiful harpsichords. He is ...
[36]
[PDF] How Eighteenth-Century Harpsichords Managed the Human-Animal
The instruments of French families Taskin and Blanchet did very much the same. An unnamed painter for the Taskin workshop borrowed animal illustrations from ...
[37]
[PDF] music for the harpsichord and virginal
The Virginal used in this record- ing combines some of the features of both the. English and Flemish style Virginals. " The name virginal does not come, as some ...
[38]
[PDF] music played on the virginal
Milton Koos has commented: "The Virginal is general- ly thought of as an oblong shape harpsichord, whose strings are almost parallel to the keyboard. The unique ...
[39]
(PDF) A concise account of historical harpsichord ranges, 2017
The historical evolution of the extension of the harpsichord's 12-note-per-octave keyboard, through the Middle Ages, Renaissance and Baroque eras, ...
[40]
[PDF] ABSTRACTS - Society for Seventeenth-Century Music
While some harpsichords with expanded compasses, such as GG, AA to c''', began to be made shortly before 1700, the GG/BB to C''' compass was commonly made as ...<|separator|>
[41]
Johann Christoph Jesse - Clavichord - German
Clavichords were built as far back as the early fifteenth century, and perhaps earlier. This most personal, simplest, and quietest of European keyboard ...Missing: specifications sources
[42]
Clavichord - German - The Metropolitan Museum of Art
Unfretted clavichords, with a single note per string, came into use in the late seventeenth century. Technical description: Fretted clavichord, range C-e3 ...
[43]
Clavichord J. H. Silbermann, 1775 - greifenberger-institut.de
The clavichord was the standard instrument for domestic rehearsing and teaching and the composing tool for every composer resulting in a considerable demand ...Missing: households 1400s
[44]
Boalch Instrument Maker Profile for Silbermann, Johann Heinrich ...
Mar 30, 2025 · (1) Gottfried Silbermann. Organ builder and stringed keyboard instrument maker (including harpsichords, clavichords and Hammerflügel), 1683–1753 ...Missing: households 1400s
[45]
Parthenia (Various) - IMSLP
Pavan: Galliard. Bull: Galliard in D major; Bull: Galliard in D major; Gibbons ... 1613 (later December 1612 to April 1613). Dedication, The High, Mighty and ...Missing: book | Show results with:book
[46]
8 Great Suites, HWV 426-433 (Handel, George Frideric) - IMSLP
8 suites. First Publication, 1720. Genre Categories, Suites; For harpsichord; Scores featuring the harpsichord; For 1 player. Contents. [hide]. 1 Performances.Missing: details | Show results with:details
[47]
Das wohltemperierte Klavier I, BWV 846-869 (Bach, Johann ... - IMSLP
Composition Year, early 1720s ; Related Works, Notebook for Wilhelm Friedemann Bach (Nos.14-18): Preludes Nos.1a-12 (BWV 846a-857) Notebooks for Anna Magdalena ...
[48]
6 English Suites, BWV 806-811 (Bach, Johann Sebastian) - IMSLP
6 in D minor, BWV 811. Year/Date of CompositionY/D of Comp. 1715-20. First Publication. 1805-13 - Berlin: Trautwein (ed. Forkel). Composer Time PeriodComp.Sheet Music · Scores · Arrangements and...
[49]
6 French Suites, BWV 812-817 (Bach, Johann Sebastian) - IMSLP
6 in E major, BWV 817. Year/Date of CompositionY/D of Comp. 1722–25? First Publication. 1802-03 - Leipzig: C.F. Peters (ed. Forkel). Composer Time PeriodComp.
[50]
Keyboard Sonatas, K.1-555 (Scarlatti, Domenico) - IMSLP
Feb 1, 2014 · General Information · 1. Keyboard Sonata in E-flat major, K.306 · 2. Keyboard Sonata in E-flat major, K.307 · 3. Keyboard Sonata in C major, K.308 ...Sheet Music · Scores · General Information
[51]
“A History of Spanish Piano Music” in “A ... - Indiana University Press
Scarlatti treated the harpsichord in a highly idiomatic manner, which often requires great skill on the part of the performer. Patterns of brilliant figurations ...
[52]
[PDF] HAYDN PIANO SONATAS: AN EXAMINATION OF STYLE ... - CORE
From 1755 to 1796, there were three keyboard instruments appropriate for performance of Haydn sonatas: the harpsichord, the clavichord, and the fortepiano. None.
[53]
KV 457 – Sonata in C minor for clavier | Köchel Verzeichnis
On October 14, 1784, Mozart entered the Piano sonata in C minor, KV 457 into his own handwritten catalog of works.Missing: adaptation | Show results with:adaptation
[54]
Wolfgang Zuckermann, Harpsichord Do-It-Yourselfer, Dies at 96
Nov 23, 2018 · As the 1950s were ending, Wolfgang Zuckermann, a piano technician and self-taught harpsichord builder, found himself so busy making service ...Missing: revival | Show results with:revival
[55]
The Early Music Show, Sound of Cinema: The Harpsichord and Film
Featured film scores include: "Wuthering Heights"; "Papillon"; "Restoration"; "Henry V"; "Love Story"; "Rosemary's Baby"; "The Vampire Lovers"; "Pirates of ...
[56]
JOURNEY OF A LIFETIME - Trevor Pinnock - Deutsche Grammophon
Apr 10, 2020 · For his recording, he chose a trusted companion – a copy of a harpsichord by the Franco-German builder Henri Hemsch tuned to the low pitch ...
[57]
[PDF] The Pedagogical Impact of the Parallels Between Classical and ...
Since 1850, the instrument has been relatively unchanged, and has played a role in major musical style periods such as: the romantic period, the impressionist ...Missing: definition | Show results with:definition
[58]
[PDF] Bach and Schumann as Keyboard Pedagogues
Feb 24, 2014 · Rules of figured bass played a big role in keyboard pedagogy during the early and mid 18th century, so it figured prominently in Bach's ...
[59]
Christian Clavier - Biography - IMDb
Christian Clavier was born on May 6, 1952 in Paris, France. He is an actor and writer, known for The Visitors (1993), Just Visiting (2001) and Asterix and ...
[60]
Sarkozy vs. the Corsicans - Time Magazine
Sep 4, 2008 · On Aug. 30, a group of 50 or so activists occupied the luxury villa of comic actor and Sarkozy intimate Christian Clavier. The protest, which ...
[61]
https://www.olympedia.org/athletes/115357
[62]
http://www.sporting-heroes.net/athletics/france/j-r-me-clavier-11532/2011-european-indoors-pole-vault-silver_a28583/
[63]
CLAVIER Jérôme - 2011 European Indoors Pole Vault silver. - France
Jerome competing in Paris. Men's Pole Vault Final. 2011 European Indoor Championships. Paris. 1. Renaud LAVILLENIE (FRA) 6.03m 2. Jerome CLAVIER (FRA) 5.76mMissing: biography | Show results with:biography
[64]
[PDF] Fusions de 1963 à 1977 - Statbel.fgov
Jan 1, 1977 · : Commune issue d'une fusion portant un nouveau nom. *. Une partie du ... 61012 CLAVIER. 398. BOLINNE. 92035 EGHEZEE. 467. BOLLAND. BOLLAND.
[65]
84 communes | Province de Liège
Clavier, commune de l'arrondissement de Huy, est composée de 6 villages : Clavier, Bois-et-Borsu, Les Avins, Ocquier, Pailhe et Terwagne. On y extrait de l'eau ...
[66]
Clavier (Huy, Liège, Belgium) - Population Statistics, Charts, Map ...
Clavier (Huy, Liège, Belgium) with population statistics, charts, map, location, weather and web information.
[67]
Fleming and Walloon | History, Language & Culture - Britannica
The Walloons, who make up about one-third of the Belgian population, speak dialects of French and live chiefly in the south and east. The religion of the vast ...Missing: Clavier notes
[68]
Abstracts - Persée
... CLAVIER, Jean-Pierre MOYNE. The fortified market towns and villages of the Isère : elements for an initial overview. 12. persee-doc:/article/amime/0758-7708 ...Missing: fief | Show results with:fief
[69]
About Us - Nord Keyboards
In 1995 Clavia released its first synthesizer, the Nord Lead. Its unique take on emulation of analog synthesis, combining a distinctive sound with an intuitive ...
[71]
Pleyel, Wolff & Cie Upright Piano | Smithsonian Institution
This upright piano was made by Pleyel, Wolff & Cie in Paris, France around 1857-1858. Ignaz Pleyel was an Austrian pianist and composer and pupil of Franz ...
[72]
Nouveau clavier transpositeur de MM Pleyel, Wolff et Cie stock image
Nouveau clavier transpositeur de MM Pleyel, Wolff et Cie ; Creator, French School (19th Century) ; Artwork medium, engraving (digitally cleaned) ; Credit, Look and ...
[73]
Virgil Practice Clavier | Smithsonian Institution
This practice clavier was made by Almon Kincaid Virgil in New York, around 1896. It is a small rectangular-shaped piano, serial number 3614, with a compass ...
[74]
RetroMagix Harpsichord by Syntheway Virtual Musical Instruments
Free deliveryRetroMagix is a virtual harpsichord based on the Flemish (Belgian Dutch), French, German and Italian models and designed for creating a wide range of sounds.