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Robert Hicks Harpsichords


Information on the instruments I build

 

Maintenance-general principles and specific techniques
 
Completed  Instruments
 


Completed Instruments Available


 Over the years I've accumulated a small number of instruments. They've been showroom models, rentals, explorations into designs. They can be called used harpsichords for sale, but most of them are in mint condition. All are excellent musical instruments. All have Swiss pine soundboards, and wooden jacks, padded covers, and tools.  They're looking for good homes, care, attention, and above all, to be played.



1667 Anon Sound Board

Double-manual after the 1667 Anon in the Boston Museum of Fine Arts: GG/BB; 2x8', 1x4'; strung in brass; voiced in quill.  Case in walnut; Swiss pine soundboard.  Reverse keyboard with carved keyfronts. 
Parchment layer-cake rose.  Soundboard painting by Marilee Dudash, carefully reconstructed after the damaged original. 
$28,000.  A specialized instrument for those who enjoy the
style brisé.


 

   French double mis en ravalement from Ruckers 1612.  (Paris Musče de la Musique).  FF-f3, transposing to 440 and 392 with no loss of notes.  Soundboard painting by Marilee Dudash after 1642 Ruckers. Painted black-green, with gilt bands and moldings; walnut turned-leg stand and other parts.  Strung in Stephen Birkett's phosphor-iron.  The design retains the Flemish close plucking points while having enlarged French soundboard area - a strong concert instrument with an incisive sound.  8'x38".  Built in 2016.  $30,000.

 


 

    French 17th-century single manual, Nicolas Dufour 1683 (University of South Dakota).  GG-d3, doubly-transposing with no loss; 2x8' in Birkett phosphor-iron; buff.  7'x 32".  Swiss pine soundboard, walnut bridge; wooden jacks (as all my instruments); voiced in delrin.  Basswood case.  Milk paint finish: dark green exterior, ivory-color inside the lid; soundboard surround, keywell, music desk, stand, etc, all in maple.  A reedy, Renaissance, early Flemish sound.  The original has a (badly worn) soundboard painting, but the dark green outside and light inside has a simple handsomeness that I don't want to improve on.  $17,500.

 


 

 

 Double-manual after Michael Mietke.  (Charlottenburg).  Case, stand, and parts in New England cherry (spine is poplar).  GG-d3, transposing to 440 and 392 with no loss.  2x8', 1x4', no buff.  Strung entirely in brass.  A clear-speaking instrument, good for Bach.  91"x34".  Built in 2014, revoiced into delrin in 2020 (had been in birdquill).  $26,000.


 

     Single-manual after Michael Mietke (Hudiksvall).  GG-d3, transposing to 440 and 392 with no loss.  2x8', no buff, brass stringing.  This is a remarkably sweet-sounding instrument, with a treble like a virginal.  The gap has been made perpendicular to the spine (the original is angled like an Italian), so the keys in the treble are now a comfortable length.  Painted black-green with cherrywood interior.  89"x34".  Built in 2015.  $22,000.


 

    Italian after Grimaldi, built in 2007.  GG-c3, transposable 392-415-440 with no loss of notes.  2x8'.  Jacks in beechwood. Case and soundboard in quartered maple. Parchment rose. Naturals in boxwood, sharps in bubinga.

    This is used in concert continuo situations and has a powerful voice while the maple soundboard gives a warm tone. The Grimaldi plucking points also give sweetness to the tone - it is not a Renaissance Italian.  The range is sufficient for early Bach.  It's an inner-case Italian, so it is lightweight. It was subjected to low humidity by its first owner (a college), but I've bought it back and have repaired it. My break-even price is $13,000


 

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Robert Hicks Harpsichords
314 Hall Road, Lincoln, Vermont. 05443
802 453 3996...
rh@hicksharpsichords.com