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The
history of the harpsichord in France during the 18th century is intimately related to the
practice of ravalement(refashioning) and redisposition of the Ruckers and other Flemish
instruments inherited from the previous age. These antiques, with their appealing naive
decoration and vibrant sound, were eminently collectible. An extinguished line of makers
held in highest regard further assured their stature. If many of the so-called Ruckers
harpsichords first saw the light of day in 18th century Parisian shops, many more of true
17th century Flemish origin were re-christened Ruckers for purposes of salability.
The influence of the Ruckers was felt long into the 18th
century, not only in France and England, but in the Netherlands as well. One of the most
fascinating bodies of instruments left to us from this time comes from the hands of Johann
Daniel Dulcken. Dulcken took the basic Ruckers design, which had not been produced in many
decades, and enlarged it out of all proportion to the product of any other contemporary
maker. The effect of this novel design decision was to make an instrument that did not
display the same differences of tone from bass to treble that one finds in other 18th
century doubles. Rather, these immense instruments (they are eight and one half feet long)
have a crystalline sound that, paradoxically, combines the clarity of the best Italian
harpsichords and the sustained tone of a Ruckers. They excel at contrapuntal playing
although we have heard them used to admirable effect in late 18th century French music as
well. The disposition is oriented more toward the organist and is therefore far more
flexible than any other type of instrument produced at the time.
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