German Harpsichords

Very few German harpsichords from before 1700 have survived, so little is known about them. Over the last decade, however, German instruments of the 18th century, especially those from Hamburg, Hanover, and Berlin, have finally been recognized as legitimate models worthy of being copied. These examples tend to be somewhat eclectic, including elements of design from 17th-century French instruments like the Desruisseaux, along with Italian influence, and sometimes Flemish traits as well. Some are suited for brass stringing, others for iron. Each maker seems to have had his own ideas on the proper mix of these elements, hence the sounds vary somewhat. Generally, they tend to have a well-balanced tone that can be quite powerful, although with less boom in the bass than a French instrument. Their clean, somewhat dry texture lends itself well to the polyphonic writing of J. S. Bach, and also works well for continuo use.

The cases typically have a double-curved bentside, and are of walnut or other medium-density hardwood about 8 to 10 mm thick (3/8 inch). (Some also use a hard pine for the straight case walls.) Painted finishes were common, but natural finishes were also used. Keyboards were often in the French style with ebony naturals and bone-capped accidentals, but exotic materials like ivory and tortoiseshell were sometimes used. The instruments are relatively light, and easily moved, making them a good choice for players who concertize a lot.

source: http://www.mapleharpsichords.com/