A. J. Hipkins

“ It was this intimate combination of the decorative arts with music that led to the clavecin and clavichord makers of Antwerp becoming members of the artists' guild of St. Luke in that city. They were enrolled in the first instance as painters or sculptors. We must however go farther back than Hans Ruckers and his sons to truly estimate their position and services as clavecin makers. ”

“ The art of harpsichord making, as exemplified in London by Kirkman and Shudi, was directly derived from Antwerp and the Ruckers. Time seemed to have no effect with the Ruckers instruments. They were decorated with costly paintings in this country and France, when a hundred years old and more. New keys and new jacks replaced the old ones; so long as the soundboard stood lasted the 'silvery sweet' tone. It has done so in some instances until now, but modern conditions of life seem to be inimical to the old wood ”

“ SHUDI, famous harpsichord-maker, and founder of the house of Broadwood. Burkat Shudi, as he inscribed his name upon his instruments, was properly Burkhardt Tschudi, and was a cadet of a noble family belonging to Glarus in Switzerland. [1] He was born March 13, 1702, and came to England in 1718, as [2] a simple journeyman joiner. When he turned to harpsichord-making is not known, but we are told by Burney, who knew Shudi and old Kirkman well, that they were both employed in London by Tabel, [3] a Fleming, and Burney calls them Tabel's foremen, perhaps meaning his principal workmen. ”

“ In the same house (Carlton House Terrace) , and sold by auction at the same time for £290, was an Andries Ruckers harpsichord that had also been made into a pianoforte by Zeitter. In this instrument the original belly, dated 1628, was preserved. The soundhole contained the rose (No. 6) of this maker. The present compass of the piano is five octaves F—F. Inside the top is a landscape with figures, and outside, figures with musical instruments on a gold ground. Round the case on gold are dogs and birds, a serpent and birds, etc. All this decoration is 18th century work. ”

“ The harpsichord that was Haydn's, recently acquired for the Museum at Vienna, at a cost of £110 sterling, was also a 'Shudi and Broadwood,' but this was the younger Burkat Shudi, who was in partnership with John Broadwood from 1773 to about 1782, and died in 1803.
A list of the existing harpsichords by Shudi and Shudi & Broadwood, as far as is known (1882) , is here appended; all but one are Double harpsichords. The price of a Single harpsichord, about 1770, was 35 guineas ”

“ Both keyboards, side by side, are apparently original, with, white naturals and compass of 4 octaves C—C. It is the right-hand keyboard that is tuned the octave higher and is removable like a drawer. A full description of this double Instrument is reproduced, in Reissmann's work, copied from the 'Anzeiger für Kunde der deutschen Vorzeit' (Nuremberg, 1879. No. 9) . ↑ Dr. John Bull succeeded Humold Waelrent as organist of the cathedral in 1617, and retained the post until his death in 1628. He must have known Hans Ruckers and his two sons well, and been well acquainted with their instruments. ”

“ Before that time pianoforte-making was as good as unknown in Stuttgart; those who required satisfactory instruments obtaining them from Vienna. Lorenz Schiedmayer's intelligence and aptness for business gained a position for his firm, and it soon became one of the first in Germany. ”

“ These expedients doubtless originated before Hans Ruckers; indeed in the Museum at Nuremberg, there is an oblong clavecin of Antwerp make, signed 'Martinus Vander Biest,' and dated 1580, that has an octave spinet in it. [6] 'Merten' Vander Biest entered the Guild in Antwerp, as one of the ten clavecin makers, in 1558. Now Messrs. Chappell of London own such an instrument, No. 9 in appended catalogue, made by Hans Ruckers, certainly the elder. No keys remain, but the scale of both the fixed and movable keyboards is the same, four octaves marked near the wrestpins si—si (B—B) . ”

“ The increase was, however, made long ago, and in some instances possibly by the maker himself. M. Vander Straeten, p. 348, has a quoted passage from Van Blankenburg: 'This was at the time when clavecins had still a narrow keyboard. In the present day (1739?) it would be difficult to meet with one of this kind; all the keyboards having been lengthened.' Again, white naturals are believed to be original these instruments. Upon very old alterations it is not easy to decide. We are of opinion that black naturals and ivory sharps were occasionally substituted when the paintings were done. ”

“ App. p.766 "This Hans Ruckers harpsichord transformed into a grand pianoforte appeared again at the sale of Lord Lonsdale's furniture in June 1887, when it realised £700. Burney's description of Rameau's portrait inside the lid should be amended. The composer does not hold a lyre, and is being crowned with a wreath. The expressive character shown in the portrait should vouch for the resemblance to the composer even if Burney had not said that it was very like. On the front board above the keys is inscribed a complete piece of clavecin music, 'Pastorale par Mr. ”

“ The elder boy, apparently nine years old, was born in 1736. This synchronises the picture with Frederick's victory and the peace concluded the following year. But the writer could not find this instrument either in Potsdam or Berlin in 1881. ”

“ Mr. Charles Salaman used both this instrument and Messrs. Broadwood's in his admirable lectures given in 1855–6 in London and the provinces. ↑ It is believed by MM. Snoeck, Vander Straeten, Régibo. and V. Mahillon, that few of the Ruckers clavecins are of the original compass of keys. ”