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“ One of the joys that I have is giving concerts on both the piano and the harpsichord. Each instrument necessitates a completely different approach which is related to their tonal resources, mechanical action and literature written for them.
The harpsichord pre-dates the pianoforte being an instrument that reached its peak of usage in the 16th through the 18th centuries. The action is quite simple compared to the pianoforte. The harpsichord is a “plucked” instrument. When a key is depressed, the end of the key raises a jack into which a small projectile called the ‘plectra’ has been placed. The plectrum sits just beneath the string. As the key being depressed raises the jack, the plectra plucks the string. The sound is similar to a guitar. The sound is more explosive but is also softer than a piano played forte. The harpsichord cannot make crescendos or diminuendos by varying the finger pressure. When the string plucks, the string plucks. The sound is ‘thinner’ and has more definition. It is perfect for the contrapuntal writing of the Baroque period as each linear voice can be heard distinctly.
The pianoforte did not come into common usage until around 1770. This means that all of Domenico Scarlatti, George Friedrich Handel and Johann Sebastian Bach were not written for the pianoforte. The harpsichord sound compels the performer and listener to critically listen and be aware of both the sound and silence. The nature of the sound makes timing, rhythm, tempo, and articulation even more important. Of the five centuries of keyboard literature we have, roughly 200 years of early keyboard music is for the harpsichord (or organ/clavichord).
The pianoforte (first invented in Italy around 1700) took 70 years of experimentation until it reached stage in development where it began to usurp the harpsichord’s dominance. Literature written roughly from 1780 onward is considered to be written for the new pianoforte. As time developed, the cast iron frame was added, and the more complex action added double escapement which made repetitions even faster. Pianos were capable of producing not only expressive crescendos and diminuendos but also had greater dynamic power needed for larger halls and the rise of the public concert.
The twentieth century has seen a revival of harpsichord literature and performance that began with the great pianist/harpsichordist Wanda Landowska. The combination of pianist/harpsichordist is somewhat unique as the two instruments take completely different physical approaches. I am please to be able to offer concerts/recordings on both instruments.”
-Tim Schmidt
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