Clavichord On Music

‘From his very childhood HANDEL had discovered such a strong propensity to Music, that his father, who always intended him for the study of the Civil Law, had reason to be alarmed. Perceiving that this inclination still increased, he took every method to oppose it. He strictly forbad him to meddle with any musical instrument; nothing of that kind was suffered to remain in the house, nor was he ever permitted to go to any other, where such kind of furniture was in use. All this caution and art, instead of restraining, did but augment his passion. He had found means to get a little clavichord privately convey’d to a room at the top of the house. To this room he constantly stole when the family was asleep. He had made some progress before Music had been prohibited, and by his assiduous practice at hours of rest, had made such farther advances, as, tho’ not attended to at that time, were no slight prognostications of his future greatness.’’

John Mainwaring, Memoirs of the Life of the Late George Frederic Handel, 1760

Anybody whose neighbours complain about their keyboard practice could, like Handel, turn to the clavichord. Its seemingly soft tones have enchanted musicians from about the fifteenth century, and contemporary composers including Herbert Howells, Stephen Dodgson and Peter Maxwell Davies have written pieces specifically for this Cinderella of the keyboard.

The clavichord’s mechanism is disarmingly simple: each key lever has a brass blade (tangent) at its end that pushes up against pairs of strings when the key is pressed down. This direct connection with the strings allows the player not only to make dynamic contrasts but also to sustain and control the sound. Apart from the accordion, the clavichord is unique amongst keyboard instruments in allowing the player some vibrato. Eighteenth-century composers such as Carl Philipp Emanuel Bach, for whom the clavichord was an ideal vehicle for the ‘empfindsamer Stil’ (‘’expressive style’’), even notated vibrato in their keyboard music.

Clavichords may be fretted or unfretted. In fretted instruments, one pair of strings serves more than one note, at least for part of the compass; in unfretted ones each note has its own pair of strings. Until the early eighteenth-century clavichords were usually fretted, while later ones were frequently unfretted. Compasses range from around four octaves in the early fifteenth century to five octaves or more in the eighteenth.

Comparing the rectangular clavichord to the harpsichord is akin to the story of the tortoise and the hare. While the harpsichord has always been the more public, dazzling instrument, it petered out towards the end of the eighteenth century in favour of the fortepiano, while the clavichord, being primarily a quiet personal instrument, continued to be used into the nineteenth century – especially in Scandinavia (Carl Nielsen may even have used one when composing). The clavichord was the first type of keyboard instrument that Arnold Dolmetsch revived in 1894, and its intimate charms have inspired performers ranging from Gustav Leonhardt to Oscar Peterson.

Though do not be fooled. For the clavichord is an unforgiving mistress that requires a firm yet delicate touch. It is these apparently opposing demands that draw me inexorably to this lady. Furthermore, Johann Sebastian Bach himself is reputed to have said that the clavichord was his favourite type of keyboard instrument, and his small-scaled French Suites seem particularly well-suited to it. What better reasons to record these works on the clavichord?