Proceedings of research hands on piano: International Conference on Music Performance (2025)

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References (265)

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136. The Clavecin roïal, was so widespread in the last quarter of the century, that in a criticism in Cramer's Magazin in 1783 it is stated that in Germany, "especially in the southern provinces" one could "encounter twenty good Pianofortes, Fortbiens [Fortpiens], Clavecin royal [Clavecinroyals], or whatever else these Hackbrett types are called, for a single serviceable clavichord". The exact places in the "southern provinces" are not known, since from that time, there are no accounts or surviving instruments from those provinces. Nevertheless, one can see that the Clavecin roïal was built by other renowned makers in Saxony, such as Christian Ernst Friederici in Gera (Schniebes 1792);
137. Johann Gottlob Horn in Dresden; or Johann Gottfried Zabel in Tangermünde. It was built by anonymous makers, too; up to now, we know of two surviving instruments, whose makers are unknown as well as the place of production. I have done an up to date account of 13 instruments by Wagner's workshop. Between them one from 1783 was destroyed in World War II, but we can see its mention in Kinsky's catalog (1910, pp. 131, 280-281) and another is unsigned but probably made by Wagner and dated around 1782-1783.
138. Updating my research until now, it can be asserted, too, that the Clavecin roïal was widespread also in the very north, throughout the German towns on the Baltic Sea coast from Danzig (Gdańks/Poland) to Reval (Tallin/Estonia) and some Scandinavian cities. On the Baltic Sea, the numerous makers could spread out the Clavecin roïal by means of the older Hanseatic commercial-routes between the Baltic and the North Sea. Probably an incentive for that business could have been the transit of celebrated musicians and their music from cities such as Berlin, Hamburg, Hannover or Lübeck to Danzig, Königsberg, Riga, and Reval (see below).
139. Danzig is -under my research on the sources at the date -the city with the largest number of makers of Clavecin roïal, and, actually, it was offered profusely. We can see their announcements in the Danzinger Nachrichten from 1765 (according to Hingelberg -see below) to 1803 (Vogel, 2001, 2006a, 2010). In Danzig, the instrument makers that made and sold the Clavecin roïal were: Friedrich Rudolph Dalitz (Delitz) (Vogel 2000), Jakub (Jakob) Machowski (Makowski, Machowsky), Georg Wilhelm Rasmus, Ernst Jonathan Sheeffer (Sheefer), Benhard Hübner y Johan Daniel Weber (in Vogel 2010). Reval was another centre of production and sale of Clavecin roïal in the Baltic German- area. The Revalsche Wöchentliche Nachrichteninforms us about Clavecin roïal sales from 1781 to 1796, and its makers and sellers such as; Johann Friedrich Gräbner (Grebner), J. C. Neidhardt (Neihart or Neidhart), Peter Johann Greinert and Jürgens & Company (RWN in Heinmaa, 2017, pp. 206-214).
140. In addition, we can also find references of the Clavecin roïal in the very north, e.g. in Scandinavian cities such as the German/Danish Duchy of Schleswig, where builder Johann Christoph Jürgensen was mentioned in Cramer's Magazin in 1783 (see English translation in Latcham 2006, p. 184);
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182. Websites about the Clavecin roïal project: • https://www.redleonardo.es/beneficiario/pablo-gomez-abalos/ • http://www.animus-cristofori.com/en/instrument-copies/kopie-eines-clavecin- royal-von-gottlob-wagner.html de la pieza: se trata del diseño corchea-dos semicorcheas. Figura 25. José Ferrer. Sonata 3 compases 1-2.
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