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WHAT'S NEW
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Last year, my wife, Marianne Ploger, accepted a new position at Vanderbilt University's Blair School of Music, as director of their Musicianship Program. This means that I will be eventually moving my workshop to Nashville to join her there, hopefully sooner rather than later. In anticipation of this move, I must reduce the size of my personal collection of harpsichords and pianos that I have amassed over the years, because we will not have nearly as much room in the house in which we will be living in Nashville. For this reason, I am prepared to sell all but one of my harpsichords, all but one of my pianos, including my two lautenwerks, my clavichords and some of my larger bowed stringed instruments. To speed up this process, I will be pricing these instruments at prices consistent with the year that they were made. So, for example, my clavichord, made in 1999, will be priced at my 1999 prices adjusted for inflation. If any of my readers is interested in acquiring one of these instruments, you can contact me using the information at the bottom of this page. If you email me about this, use the phrase: Hill Collection, so that I don't delete your email automatically. I also plan to offer these instruments through Glen Guitarri's harpsichord clearing house, at harpsichord.com
AN ARTICLE ON HOW TO JUDGE A HARPSICHORD OR FORTEPIANO
I am posting for my readers an article which I wrote more than 25 years ago, titled: How to Judge a Harpsichord. This article was published in the Continuo Magazine back then. Since my views about how to judge musical instruments has not changed much since then, I thought my readers would find the article useful for learning to evaluate the acoustical and musical aspects of musical instruments. I have revised the article to include fortepianos, for those who are interested in Fortepianos. You can read this article by clicking on the WHAT'S NEW button and scrolling down until you find the article.
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AN IMPORTANT OFFER
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What follows is my offer of a new opportunity, which is two fold and should merit your close attention.. One, if you are young and passionate about making musical instruments, the following offer might interest you. Two, if you are a player who has been interested in having one of my harpsichords, but have not been able to afford one, I will be offering instruments from my shop at a significantly lower price to be made under my close supervision by those young makers who qualify for my offer below. To see those lower prices, click on the Harpsichords, Clavichords, and Fortepianos buttons above and to the left.
Acoustical Technology Training
When I began building harpsichords, this business was, as it still is, dominated by the idea that if you make an exact physical copy of an antique harpsichord or violin (the model having been selected because its musical and acoustical properties were generally accepted as being musically superior), then the resulting instrument should sound exactly like the original would have sounded.
Everyone seemed to think that this was a good idea. Yet, when the results of such instrument making were compared to the original instruments, the antiques sounded so much better as to make the copies of them appear acoustically inept, musically incompetent and on the whole, aesthetically mediocre. Apparently, this vast discrepancy didn’t seem to bother anyone but me. A few, not instrument makers but players, knew the difference but still had to play on the new instruments. The reason why this chasm failed to dampen almost everyone’s enthusiasm is that they accepted the conventional wisdom.
That conventional wisdom was that antique instruments were thought to sound better because they are old. Modern instruments were and still are generally acknowledged by connoisseurs to be radically inferior to the antiques…like a faded photograph compared to the real thing. Yet, so many of the ancient instruments are clearly better sounding in every possible way than modern made instruments. The easiest answer as to why is that the antique instruments have had 200 years of aging to improve their sound.
Click here for a Sound Sample of my Blanchet inspired French Harpsichord made in 2008*
Click here for a Sound Sample of my Lautenwerk finished in 2007*
Here, the aging metaphor was being misappropriated, even by famous musicians, from the wine making industry. It is an “explanation of convenience” which seems, as far as I can tell, to have absolved musical instrument makers since the 19th century of the obligation to do anything more than making their instruments by first taking careful measurements of a famous antique “master” instrument and then reproducing those measurements using as similar materials as possible to the original instrument. When the sounds of their instruments didn’t turn out as good as the originals, they rested on the hope, no, the expectation that in 200 years their instruments were going to somehow magically sound absolutely fabulous, like the great antiques sound today. I actually heard this being spouted by several harpsichord makers and violin makers. One even said: “I make as exact a copy of the original as I can. If it doesn’t turn out (sounding as good), it is not my fault.”
This arrogant attitude presumes that the best makers of previous centuries were content with making an instrument, just like instrument makers do today, in the hopes that it would show over time to improve with age until it became a great sounding instrument. What astonished me at the time is how many of my colleagues swallowed this way of thinking hook, line, and sinker. At the time, I instinctively rejected this notion but had no evidence to substantiate my radical view.
Fortunately, a visit to the Russell collection in Edinburgh in 1972 provided me with ample evidence that this notion was false. There, where harpsichords from every period and country could be heard and played, is also where that conventional “wisdom” may be observed to be glaringly wrong. If age is what made a musical instrument good, then instruments made in 1585, clearly, should be that much better sounding than instruments made in 1668…after all, they had over 80 years more to improve…but they are not better! The harpsichord made in 1720 should, by that false reasoning, be better than the one made in 1769. But it is not! Logically, any exception to that notion meant to me that the notion was totally false. That has proved to be the case. And if this notion is totally false, then it makes thinking that it is true to be exceedingly arrogant, because it assumes, without any proof, that the best ancient makers were as clueless and ignorant as most instrument makers since the 18th century.
My visit to the Russell collection revealed to me the following fundamental truth; makers who built the best sounding instruments did so because they knew exactly what they were doing and did everything in their power to make their instruments to sound as wonderful as possible right from the moment the instrument was made. It was nothing magical, nothing having to do with the aging process of wood, no "mini iceage", no "holy" varnish, no mystical intuitive talent of some blessed makers that they were able to build instrument after instrument of exceedingly high quality. Those makers who built the best sounding instruments did so because they mastered acoustics. It is as simple as that.
Click here for a Sound Sample to of that same Lautenwerk*
The consequence of this realization for me was that I understood that there was a body of knowledge and techniques (what I now call Acoustical Technology) which was being applied by those great makers, and which, for whatever reason, was lost. Indeed, that lost knowledge had to be something so ordinary that anyone back then could apply it with more or less success, and that it would have been taken for granted and eventually disappeared; as all that we take for granted wanes and eventually disappears in our cultural "march to progress". This Acoustical Technology was the “common denominator” connecting all musical instrument-making for 400 years prior to 1800…including the making of violins, lutes, guitars, brass and woodwind instruments, harpsichords, organs, clavichords, and pianos. Indeed, those makers whose instruments we most revere today, like Ruckers, Stradivari, Guarneri, Blanchet, Taskin, Cristofori, Amati, Schnitger, Stein, and Graf, were merely the most clever in figuring out and applying what they learned to the making of their instruments. Their less clever associates and colleagues built merely good instruments. Important about this realization is that it also meant that that body of knowledge was learnable. And, it meant that anyone who bothered to look for it in a focused, unsentimental, and mindful manner would have some success in recovering that knowledge.
So the question I forced myself to answer was: What exactly were the makers of the great musical instruments of the past doing to make their instruments sound so good? Answering this question as completely as possible, thus far, has taken me 36 years and has required making more than 500 instruments of all kinds, mostly keyboard and bowed stringed instruments. The method I have used for my investigations was not unlike techniques used in Forensic Science.
Forensic Science takes fragments of carefully collected evidence, then analyzes that evidence in order to reconstruct the answers to who did what and when, how they did it, and, in some cases, why. Anyone who studies the antique instruments notices the obvious stuff like layout, materials, dimensions, etc. A forensic science type approach goes several steps further. With this approach one notices, as in hand writing analysis, the human traces of workmanship, aesthetic decisions, and methodologies, and seeks thereby to understand the behavior of the ancient makers. My approach added to these yet one more dimension. It began with one observation about human nature. That is, everything we do is an answer to a question of some kind. Further, every question we pose, either explicitly, implicitly, or covertly, either verbally or nonverbally, arises from an attitude we possess. By starting with that observation, I began with the simplest pieces of evidence to analyze and reconstruct the questions behind that evidence and then to intuit the attitudes that are the cause behind the questions.
From simple observations, working backward, it is possible to deduce the attitudes of those ancient makers. Then, working forwards, from that point, by adopting their attitudes, it is possible to reproduce work that appears and sounds like "brand new antique", as one of my patrons dubbed it. When my results were not exactly like those of the antiques, then I knew that I had not succeeded in rightly deducing the precise attitude behind the phenomenon. Using this method, it took me years of research and experimentation to figure out how the best of the ancient makers thought that resulted in the outstanding quality of sound they were able to produce, instrument after instrument after instrument.
Click here for a Sound Sample of Tchaikovsky on my Violin Opus 413
Click here for a Sound Sample of my Violin Opus 409
Click here for a Sound Sample of Tchaikovsky on my Violin Opus 392
Realizing the value of what I have learned thus far, I feel compelled to make sure that the knowledge that I have gained, at significant personal sacrifice, does not again get lost. For this reason, I am inviting qualified persons to work with me to learn how to apply the Acoustical Technology I have developed and mastered.
Click here for another Sound Sample of that same Blanchet harpsichord*
Now, finding, identifying and training qualified young makers who want to learn and master musical instrument making from an exclusively acoustical point of view is my goal. This is easier said than done. My experience over the last 36 years has made me realize that few musical instrument makers value sound as much as I do, fewer still are willing to pay the price themselves, as I have, to master acoustics. So naturally, I don’t assume that there are actually all that many musical instrument makers who are willing to subject themselves to learning what is required to be able to build great sounding musical instruments.
Nevertheless, I hold that what I do acoustically can be done by anyone willing to learn the techniques and attitudes necessary to apply this Acoustical Technology masterfully. This offer is open to anyone interested in learning this sophisticated yet simple way of realizing a high degree of enhancement in the sound of any musical instrument. However, only those who qualify technically, artistically, musically, and personally will be accepted for instruction. Whomever I undertake to teach the Art and Science of Acoustical Enhancement must be able to successfully apply my acoustical technology to their instruments once they have completed my course of instruction.
Technical qualifications involve a little experience making musical instruments, skill in use of tools, and skill in drawing or sculpting. Artistic qualifications relate to conceptual abilities, natural cognitive abilities, imaginative skills, and ability to think clearly and cogently about ideas. Musical qualifications have to do with how musical, how technically proficient on an instrument, and how much understanding of music one has. And personal qualifications have to do with age, attitudes, philosophy, intellectual aptitude, and habits, etc. The ability to speak English is also really helpful.
Anyone interested is welcome to contact me by email at pictagoras@aol.com. Use “Interested in Acoustics” in the subject line.
Keith Hill – Instrument Maker
My contact information is: Keith Hill - Instrument Maker, 10332 - M52, Manchester, MI 48158
My land line phone number is 734-428-8660
Click here for a Sound Sample of my 6 and one half octave Graf piano*
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A Recent Recording of a New Violin
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Click here for a Sound Sample of my Opus 409*
The violinist in this sound sample of the Vieuxtemps Violin Concerto is Laura Johnson, winner of the Denver Young Artists Orchestra competition in 2009, playing with the DYA Orchestra for this performance on my violin, Opus 409, made in late 2008 and finished in early 2009.
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SOME OLD NEW STUFF
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Last year, I posted some photos and sound samples on this page and continued to add to the postings. The material I posted garnered some positive feedback, which is why I continued to leave the stuff posted. Recently, my provider did a program upgrade which deleted all that material. My apologies to my readers.
I am now reposting that material for your pleasure.
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Couchet Decoration
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I did this decoration in 2008 on the Blanchet Copy which I made for Elizabeth Farr. Here are some sound samples of that instrument, all of which appear on the CD Ms. Farr made of the music of D'Anglebert on Naxos.
Click here for the first Sound Sample*
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Back to the Original Page Material
Now that I have achieved my personal goal of a reliable mastery over sound, I am able to produce the kind of sound I could only dream of 35 years ago. It is that skill and understanding that I am able to bring to each and every instrument I make. It is this skill and understanding which makes my instruments unique in our time. That is what I have to offer.
Click here for a Sound Sample of my most recent 16' Harpsichords*
The cardinal signs of a Hill instrument are: powerful tone, gorgeously vocal trebles, solid and resonant basses, beauty of tone color, intensely musical behavior of sound, flexibility of touch and color, and a singing and affectively "loaded" tone. Why are these traits necessary? It is obvious that players and composers in the 18th century demanded instruments possessing these qualities to be made so that they would aesthetically support their musical conceptions and intentions. How do we know this? CPE Bach states explicitly in his Versuch to "Play from the Soul, not like a trained bird...endeavor to avoid everything mechanical and slavish". J.J.Quantz in his On Playing the Flute explains to musicians that "musical execution may be compared with the delivery of an orator..." and that musicians and orators should aim "to make themselves masters of the hearts of their listeners, to arouse or still their passions, and to transport them now to this sentiment, now to that".
Click here for a Sound Sample of my most recent Italian Harpsichord- a copy of the de Zentis of 1658*
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I understand that they meant these things literally, rather than hopefully. Therefore, I build my instruments with the sole aim of creating sounds which enhance and support (meaning: to make reasonable, logical, and beautiful) a highly expressive, highly flexible, highly affective, highly inflected, powerfully communicative, yet balanced style of playing. Playing that is, in a word, soulful.
Click here for a Sound Sample of one of my Cristofori inspired Fortepianos*
My goal now is to do everything in my power to encourage a return again to a sane, meaningful, highly expressive, masterful way of playing great music and creating great art. It is to this end that my instrument making is dedicated.
Click here for a Sound Sample of one of my Guarneri inspired Violins*
Indeed, it is also to this end that my decorations and canvas paintings are dedicated. So I hope you will take the opportunity to visit those sites as well while you are at this site. Just click on the Art Gallery Button to the left or the Decorations Button for the instrument decorations.
KEITH HILL - Instrument Maker
I wish to acknowledge the fine playing of the many players whose playing you hear on all my websites. They are: Tim Burris-Lute, Robert Hill-Harpsichord, Cristorfori Pianoforte, Graf Fortepiano, Clavichord and Lautenwerk, Marianne Ploger-Cristorfori Pianoforte, Graf Fortepiano, Elizabeth Farr-Harpsichord and 16' Harpsichord, Mitzi Meyerson-Harpsichord, Shigetoshi Yamada-Violins, Michael Behringer-Harpsichord, and Mauricio Aguiar-Violin
My contact information is: Keith Hill - Instrument Maker, 10332 - M52, Manchester, MI 48158
My land line phone number is 734-428-8660
My email address is: pictagoras@aol.com
Click here for a Sound Sample of one of my Lautenwerks, or Lute Harpsichords*
Click here for another Sound Sample of my Lautenwerk, or Lute Harpsichords*
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Click here for a Sound Sample of one of my Friederici inspired Clavichords*
*(Here's a trick to hear the sound sample and view the site at the same time. 1.Click on the sound sample to download it. 2.Then, download one of my other sites on your browser, in effect, opening a new window. 3.Click on the SITE button, at that site, relating to this site. 4. Once you have this site accessed from the new page and window, you can to view the site and listen to the downloading sound sample for it.)
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