Harpsichord

An instrument that is generally only used as accompaniment now shines in the spotlight. The harpsichord is not only a star of Early Music, but is also experiencing a modern renaissance

Jean Rondeau
Jean Rondeau © Daniel Dittus

»Baroque sewing machine«? No way! The harpsichord really deserves to be showcased in a concert series of its own. Its different formats alone, from the compact spinet to the full-size version with an ornate body and several manuals, make it a real eye-catcher. In all cases, the strings are plucked by quills, which gives the instrument its characteristic, dynamic sound – in contrast to the piano, where the strings are struck by felt hammers.

The finale of the series with up to four (!) harpsichords on stage will be spectacular in both appearance and sound when Ottavio Dantone and his Accademia Bizantina, bursting with energy, perform Johann Sebastian Bach’s harpsichord concertos at the Laeiszhalle. Justin Taylor, on the other hand, explores the inspiration Bach drew from Italian music, from fellow composer Antonio Vivaldi for example. Bach’s French counterpart was Jean-Philippe Rameau, whose original solo concertos will be performed by Olivier Fortin. One of the pioneers of harpsichord music was Louis Couperin; his countryman Jean Rondeau celebrates his 400th birthday with a marathon concert. Finally, Mahan Esfahani, an expert on 20th and 21st century music, expands the repertoire with newly commissioned works; he elicits ever new and fascinating sounds from this old instrument with his electrifying playing.

Supported by Stiftung Elbphilharmonie

Events of the spotlight