First (Scots)'s New John Phillips Harpsichord
| In the spring
of 2000, at the request of the Worship Division, the Session of First
(Scots) approved an order for a new harpsichord to be built by one of
the leading harpsichord makers in the world, John
Phillips of Berkeley, California. It was received and dedicated
in the spring of 2002. Photos on this page show our instrument in various stages of construction.
|
 |
 |
The
new harpsichord is patterned after one built in Dresden by Johann Heinrich
Gräbner the Younger in 1739. In all likelihood, the original instrument
was used in a court theater or chapel, where its unusual DD-d" range
would have been ideal for accompaniment. Because of its Germanic
style, the new instrument will be especially well suited for the music
of J.S. Bach, Handel, Pachelbel, Buxtehude, and other composers of the
Reformation Period. According to Wayne Foster, our former Director of Music, John Phillips, the builder (pictured in the photo to the left), is perhaps the finest in the world at his craft. Phillips has a four-year waiting list of those wishing to purchase his harpsichords, and his instruments are now going to Europe—which has hitherto been unheard of since Europeans have traditionally not taken American builders seriously. Made entirely by hand rather than constructed from kits (which are assembled by amateurs), this will be a world-class, museum-quality instrument and the only one of its type (a Germanic harpsichord with a DD-d" range) in the United States. In fact, the only other one in the world is in Germany. It is probable, therefore, that recordings will be made on our instrument since the world’s leading harpsichordists and Baroque orchestras have requested Phillips’ harpsichords for their recordings. |
| During the Reformation Period it was not unusual for families to possess a harpsichord at home. Thus, there are many compositions written for the harpsichord based on beloved chorale melodies by composers such as Bach, Pachelbel, and Boehm. These delightful compositions can be played as preludes in today’s churches, especially in the intimate setting of a church chapel where there is no organ. In choral music of the Baroque Period, such as Handel’s Messiah and Bach’s Christmas Oratorio, a harpsichord is an important part of the orchestra, especially in the accompaniment of recitative. It is also needed in certain sacred compositions of the Renaissance and Classic Periods. For these reasons, we expect to use Phillips’ instrument for ensemble music, such as the Bach Brandenburg Concerti or Handel’s Water Music Suite, as well as for fine solo harpsichord music. |  |
 |
A harpsichord differs from a piano in that the strings are plucked by a quill jack, instead of struck by hammers. Also, the sound board and frame of a harpsichord are constructed of thin wood, while the piano has an iron frame. This makes the harpsichord easily transportable. The gauge of harpsichord strings is considerably thinner than for a piano, and the tension at which the harpsichord is strung is much lighter. All of these characteristics give the harpsichord a transparent and silvery tone that is suitable for contrapuntal music—music in which two or more melodies work together to make an harmonic whole. On the other hand, the piano is, in essence, a romantic instrument, and therefore is less suitable for the music of the Baroque Era. |
| Playing the harpsichord requires a much different technique than does playing the piano. It is similar to the technique used to play the organ: an extremely light finger touch with virtually no pressure, and the use of articulation, a technique that allows the music to sound clear and well defined. For the organist, playing the harpsichord is a wonderful practice experience because it requires a certain amount of finger discipline in order to play accurately. Since the intimacy and precision of the harpsichord’s keyboard action translates so well to the organ, an organist can practice difficult organ music on the harpsichord with great success. |  |
| Although the harpsichord is necessary in the performance of much Renaissance, Baroque, and Classical music, and useful as a practice instrument, it meets other important needs in a church music program. For example, it is an ideal accompaniment for children’s choirs. This is due to its transparent and crisp tone that supports the children without drowning them out, as is often the case with the piano or organ. Moreover, the children seem to enjoy the novelty of the harpsichord—an instrument they do not see every day. |
 |
Our new Phillips harpsichord is kept in the Lilly Chapel where it is available for services, recitals, and practice. However, it is moved into the sanctuary—either to the back balcony or to the main floor—when the children’s choirs sing. When the Kirk Choir presents a sacred oratorio, it will be used in the orchestra. In keeping with the style of our sanctuary and chapel, it is painted with minimum decoration. |
| Although modern in its missions and
outreach, First (Scots) is an historical church in an historical city;
and it is our hope that the new John Phillips harpsichord will serve both
the church and the community by enabling the performance of music from
the rich heritage of the periods of the Reformation through the eighteenth
century. As a complement to our magnificent Ontko and Young pipe organ,
it will be an invaluable asset to our congregation for generations to
come—a glorious instrument to bring God’s gift of music and His message
to people’s hearts. The cost of the harpsichord is $30,000 and was paid for by individual contributions to the music fund. |
|
|