French Double Manual Harpsichord

Here are a view views of the stringing, before and after my restoration.

John Broadwood & Son

With a bit of research, I've discovered that the Broadwood grand #3448 is pictured on page 87 of the English version of Ernest Closson's The History of the Piano, after finding a reference to it in an article by Kenneth Mobbs, "Stops and other special effects on the early piano." (Early Music, Volume 12, No. 4, November, 1984; footnote #6, page 476.)

John Broadwood & Son fortepiano

The finished product.

 

 

Broadwood piano action

The action, before and after restoration.

Broadwood fortepiano action

Another view of the action, before and after restoration.

 

Broadwood fortepiano action

The unrestored action, with the signatures of Cochran and Bishop, two of the many craftsmen who worked in the Broadwood factory.

John Broadwood & Son

Fortunately, the previous caretakers of this instrument appreciated the importance of preserving any component that had become separated, such as these veneer chips and hammers. (Click on images to enlarge.)

John Broadwood & Son Fortepiano, Maker's Number 3448

It was customary for the Broadwood firm to mark the maker's number on the belly rail, wrestplank, stand, and music desk. Pictured below is the maker's number, 3448, inscribed in pencil on the lower belly rail, stamped on the top of the front section of the stand, and in ink on the bass section of the wrest plank. (Click on images to enlarge.)

 

The desk for this instrument, however, is stamped with the maker's number 1622.

Unfortunately, instrument number 1622, built in 1799, does not appear to have survived.

Broadwood Fortepiano

A view of a section of the newly installed strings.

Broadwood fortepiano restoration

Here is a view of the interior, from the underside, showing the newly repaired and reinstalled soundboard, treble brace, and secondary liner along the spine.

A view of the top, showing the new and original sections of the hitchpin rails, as well as the newly shimmed and shellacked soundboard.

Another view of the top.

Broadwood/square nails

Before there were Home Depot, Ace or True Value Hardware stores, builders and craftsmen relied upon their local blacksmith for their supply of hand made nails, such as the ones pictured here.

They will be carefully straightened and reused in the installation of the keybed and case bottom.

Broadwood piano soundboard

Here is a view of the underside of the soundboard, with linen cloth applied on the cracks, and of the soundboard re-installation.

Broadwood Restoration

A view of the interior of the instrument with the soundboard removed.

Broadwood Fortepiano

After a long hiatus, I have begun the restoration of the the 1806 Broadwood grand.  Pictured is my beautiful new bride, Sylvia, celebrating the successful removal of the strings, and the interior of the instrument.  As happy as I am to have the opportunity to restore this instrument, I feel even more fortunate to have a wife who is equally excited to assist me with its restoration.

Opus IV Keyboard: All has not been lost

With a bit of patience and perseverance, I have successfully restored the keyboard and keyframe, which was badly damaged due to a flooded workshop.

The walnut keytops and cherry arcades have been re-glued to the levers, and with the installation of the walnut cheek-blocks, key cloth and keyframe front molding, it is now ready for installation.

It was necessary for me to adopt a different attitude and mindset in the restoration of this once finished and perfectly functioning keyboard, which I had considered to be the finest I had yet built.

Having done countless restorations of keyboards and keyframes from harpsichords,  clavichords, virginals and fortepianos, as well those from modern pianos,  this was a project that I simply had to approach as yet another restoration of a damaged keyboard, setting aside the frustration I felt with having to restore a keyboard I had so recently completed.

Opus IV: Saving the keyboard

Having allowed the waterlogged keyboard and frame to dry out for a month, it appears that I will be able, after all, to rebuild it.
The walnut keytops have been removed, numbered, and prepped for regluing, and the keylevers appear to have suffered less damage than I had previously thought, save for some staining at the balance points, the result of the balance pins having rusted.
I have polished the guide and balance pins, rebuilt a slightly warped keyframe, and have begun the process of regluing the natural keytops onto the keylevers.
The prospect of building an entirely new keyboard was, to say the least, demoralizing, however, I am quite optimistic that I will be able to resurrect the original keyboard, a tedious, yet far less time consuming task than building a new one from scratch.

A bit of a setback

I discovered, in the aftermath of a flooded basement/workshop, that the keyboard for my Opus IV harpsichord has been destroyed.  Fortunately, the instrument itself, along with my tools and machines, suffered no harm.

The making of the keyboard, an extremely time consuming process, represents the birth of an instrument, as it is the first thing I make for a new instrument.

While it will indeed be a challenge to duplicate the dimensions of this keyboard, I am quite confident that I will be able to accomplish this task, with the hope that the new keyboard will be even better than the original.

Despite this very disappointing setback, my Opus IV will one day sing.

Making progress

Having installed the soundboard, rose, lower guides, bridges, etc., I am now preparing to glue the bottom onto my instrument.
(Click on image to enlarge.)

Opus IV hitchpin rail

The bridges, 4' hitchpin rail, and soundboard have now been marked and installed.  Pictured above is the installation of the 8' hitchpin rail, which is comprised of two separate sections, and the inner case molding at the treble end.
As is the case with many instrument makers and craftsmen, I am loathe to dispose of even the most trivial bits and pieces of wood, ivory, and potentially useful bits and pieces of instruments that I have acquired over the years.
While a few of these instruments have been disposed of, as they were not in a state where restoration was practical or even possible, I managed to locate a simple, brass rose which I salvaged from a poorly constructed,
incomplete Zuckermann straight side, commonly known as a "Z Box."

I hope that it would offer the well intentioned maker of this instrument some consolation in knowing that while his instrument is no longer in existence, at least one small part of it shall live on in the instrument which I am now building.

Pleyel harpsichord

I am currently engrossed in the restoration of a Pleyel harpsichord for the Harpsichord Clearing House.

The restoration of a Pleyel is not for the faint of heart, particularly when the instrument has undergone an earlier, poor quality restoration.

Unfortunately, the earlier restorer saw it fit to use a non water soluble glue to glue the remnants of the original leather plectra into the tongues.  A hole was then drilled through the plectra, and a round, Neupert style plectra subsequently inserted.  It was necessary for me to make and install approximately 75 new tongues, as several of the originals were either split, missing, or poorly drilled during the earlier "restoration."

In fact, a great deal of the work I have thus far done has been the correcting and complete undoing of some truly horrendous work, performed by a less than competent restorer.

Pictured here is the re-attachment of the treble section 16' nut, which had become unglued. Slowly but surely, the instrument is rumbling back to life.

Making the Soundboard for opus IV

Here, Amicus, my worthy apprentice, checks the glue joint between two soundboard planks.

1806 Broadwood Grand Fortepiano Restoration

At long last, my 1806 Broadwood has entered my workshop for restoration.

Making the Soundboard

Having re-sawed several 1"x4"x6' fir boards into 1/8"x4"x6' planks, I have begun the process of gluing them together to form the soundboard.  Once completed, it will be cut to fit in the case, flush with the inner rim and belly rail, and planed at various points between the 8' bridge and hitch pin rail.

Steaming the Bridge

While this method might not appear to be as refined or aesthetically pleasing as the one  we would like to imagine Taskin or Ruckers employed to steam their 8' bridges, the combination of a large steamer pot, clear plastic hose, a few clamps and a 5' length of PVC pipe, atop my kitchen gas stove, is serving the purpose quite nicely.

Broadwood Square Piano

The front view and nameboard of the 1795 Broadwood square piano, maker's number 2998, on which I performed some technical work for Glenn Giuttari's Harpsichord Clearing House, in preparation for delivery to its new owner. The instrument, save for 4 wound and 1 brass string, is entirely in its original, quite playable condition. A very small dab of Hoppe's no. 9 Premium Gun Oil on each damper lever successfully and efficiently brought them to a nearly perfect working condition, as several were quite sluggish or entirely inoperable. I cautiously set the pitch of the instrument at A392, as there is a very slight twisting of the case, a common square piano "disease." The instrument, however, is very stable, and, with luck, will continue to offer joy and solace to its listeners and players for another 209 years.

Stodart in Concert

On Saturday, September 12, and Sunday, September 13, at Sayles Memorial Congregational Church in Lincoln, RI, the Stodart made its 21st century debut, in two tremendously successful performances featuring fortepianist Sylvia Berry and myself, in programs including the music of Haydn, Schubert, Beethoven, and Clementi.
The sound and action were enthusiastically praised by all who heard and played the instrument. The success of these performances was deeply gratifying on both a personal and professional level. Up next: the completion of my Opus IV harpsichord, a 392/415/440 transposable single, FF-f''' 8'x8'x4'/buff.

My Harpsichords

Decided to post some photos of the three harpsichords I've built.
Pictured from top to bottom, my opus III, a French Single, FF-f''', 8x8/buff, double transposing, built on commission, now in Philadelphia, PA;
my Opus II, a Flemish Single, GG-d''', 8x8/buff, transposing, now in Canton, MI,
and my Opus I, a Flemish Double, GG-d''', 8x8x4/buff, non transposing, soon to be delivered to its new owner in NH.

Finishing touches

While there remains much work to do, the Stodart is now in reasonably good playing condition.

I am now in the process of eliminating buzzes, clicks, and various small, but very annoying technical problems.

Fortunately, the action has withstood the constant musical assault it has been subjected to, despite my most powerful fortissimo playing.

The next step will be to restore the damper action, which will hopefully improve the action's very poor damping capabilities, particularly in the bass.

Farewell, old friend...

Opus I has been sold, and will be living in New Hampshire, at the home of a Methodist minister.

I hate to part with it, but am happy with the knowledge that it will be going to a good home, only two hours away.

Still, it's sad to see "my baby" go.

Sigh...