CONCERT INSTRUMENTS

SHUDI & BROADWOOD HARPSICHORD c.1775

This particularly fine example of the late eighteenth-century English harpsichord was the largest made by the London firm of Shudi & Broadwood, who included among their clients George Frideric Handel, Frederick the Great, the Empress Maria Theresa and Joseph Haydn. It has two keyboards with a compass of five-and-a-half octaves CC-F and is a little over 9 feet in length. Formerly belonging to Arnold Dolmetsch and then the Cambridge harpsichordist Mary Potts, it is now owned by myself, and is currently on long-term loan to the Fitzwilliam Museum, Cambridge. It is featured in many of my solo recordings: visit the online catalogues of www.cantoris.co.uk; www.crdrecords.com; www.meridian-records.co.uk for example, and three further albums are available only from the Fitzwilliam Museum’s shop www.fitzwilliammuseumshop.co.uk

TWO-MANUAL HARPSICHORD BY PHILIP SMART, OXFORD 1989, AFTER AN ORIGINAL INSTRUMENT BY HENRI HEMSCH c.1756

Modelled on a famous original instrument by Hemsch in the Boston Museum of Fine Art, USA, this harpsichord is regularly used for my concerts, recitals and broadcasts, and is also to be heard on my solo CDs of keyboard music by Telemann and Krebs on the Meridian label. For details see the online catalogue at www.meridian-records.co.uk

TWO-MANUAL HARPSICHORD BY FERGUSON HOEY, OXFORD 1984, AFTER AN ORIGINAL INSTRUMENT BY JOHANN DANIEL DULCKEN 1745

Another concert harpsichord in my collection, providing further repertoire possibilities to complement those of the previous instrument, and modelled on the magnificent original Dulcken instrument now in the Smithsonian Institution, Washington DC, which I had the privilege to play in 2005. http://americanhistory.si.edu/collections

SINGLE-MANUAL HARPSICHORD BY RICHARD CLAYSON & ANDREW GARRETT, LYMINGE 1975, AFTER AN ORIGINAL INSTRUMENT BY GIACOMO RIDOLFI, 1665

Regularly used for my recitals and lecture-recitals, especially for music club and special interest groups, this instrument is again modelled on an original to be found in the Smithsonian. It has been heard in many broadcasts and recordings, especially of Italian (and Italianate) keyboard music, and is also featured - with the following instrument - in my well-received CD recording of extracts from The Mulliner Book. (See Recordings page for further information.)

CHEST ORGAN BY LAMMERMUIR PIPE ORGANS, OLDHAMSTOCKS 1993

The organ is modelled on historic English and German originals, and has three registers. All pipework is of wood, and the instrument is foot blown. The oak casework has fielded panels with moulded surrounds, and the hand carved ornamental front panel is modelled on a 17th-century original. The instrument has been used for a number of my CD recordings - visit www.meridian-records.co.uk for details of my anthologies of organ and harpsichord music by Krebs, Telemann and of Georgian keyboard music (‘His Lordship’s Delight’) - and for a number of broadcasts, concert and recital performances. For a further illustration of this instrument see www.lammermuirpipeorgans.co.uk (Opus 20)

CHAMBER ORGAN BY VINCENT WOODSTOCK, REDBOURN 1989

Regularly used for solo and continuo purposes, this organ is easily transportable, and is also often heard in my lecture-recitals for organists’ associations, and other special interest groups. The front decorative pipe screen was designed by Frank Bradbeer (formerly of Grant, Degens & Bradbeer) and is hinged, for ease of access for tuning.