During the early period (16th–17th century), the earliest known harpsichords in England were imported from continental Europe, particularly from Italy and Flanders. By the late 16th century, native makers like Lodewyk Theewes (a Flemish-born builder working in London) began producing instruments domestically. The Elizabethan and early Stuart periods saw increased demand for harpsichords in aristocratic and royal households.
The 17th–18th century saw the development of a distinct English harpsichord style. Thomas Hitchcock (c. 1665–1714) and his son were among the leading makers of the time, producing instruments with a rich, resonant tone. Later, the industry was dominated by Jacob Kirkman (a Flemish immigrant) and Burkat Shudi (a Swiss-born maker), whose instruments were highly sought after. Shudi’s firm later became John Broadwood & Sons, which shifted toward piano manufacturing. During this time, the double-manual harpsichord, often featuring Venetian swell mechanisms, became increasingly popular.
The decline and revival (19th–20th century) began with the rise of the piano in the late 18th century, which led to a sharp decrease in harpsichord production in the UK. However, the 20th-century Early Music Revival brought renewed interest in historical instruments. Arnold Dolmetsch, in the early 1900s, was instrumental in reconstructing and promoting harpsichords based on historical models. By the mid-20th century, British makers like Robert Goble & Son helped reestablish harpsichord craftsmanship, producing instruments for both professional musicians and scholars.
British makers continue to produce harpsichords, often replicating historical models with period-accurate materials and techniques. Many focus on creating instruments that balance historical authenticity with contemporary performance needs, serving professional musicians, conservatories, and early music ensembles. However, much of the history of the ‘harpsichord revival’ period, roughly 1880-1970 or arguably even later is in danger of being lost.
The skills required for harpsichord making and repairs include woodworking, fine, repetitive and accurate work with small wooden and metal parts, working from plans, musical skills for tuning and regulation of instruments, painting, polishing and decoration.
Harpsichords developed distinct national styles across Europe, each reflecting local musical traditions and craftsmanship. Here’s a summary of the key national variations:
Italian Harpsichords
Flemish Harpsichords
French Harpsichords
German Harpsichords
English Harpsichords
The Dolmetsch workshop closed in 2010 and the Dolmetsch family now only service recorders. Otherwise it directs enquirers to other businesses for new keyboard instruments, including those run by craftsman who formerly worked at or for Dolmetsch
Harpsichord maker Malcolm Rose sadly passed away in December 2022. He will be greatly missed from the the early music scene. His daughter Leonie is stepping up and continuing the family string making business.
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