Michael Harold Thomas (1922-1997) harpsichords & clavichords
“Historic Harpsichords and Clavichords” with picture on the cover of a “Ruckers Harpsichord 1623.” Besides the Ruckers he plays instruments by Franciscus de Paulinis (1726), Alessandro Cresci Pilano “Harpsichord of Lavano 1760,” Crang (1745), and an 18th c. clavichord by Deckert. Peter Williams wrote in the Musical Times: “…the disc is not empty of interest even if little may ultimately satisfy either expert player or expert restorer.”
Released by Oryx 1725 year unknown. (197?)
Recorded by Oryx Sound-Studios, Producer: Michael Meacock. Recording Engineer: Harry Mudd. Pressing: Orlake.
Cover printed by West Surrey Printing Company, Cover design: Lawrence Perry. Photos by Janine Jackson. We are grateful for the facilities and kind assistance offered by Dr. Mirrey during the recording of his private coIIection.
Thanks to Daniël, who let me browse the famous Daniël Beuman harpsichord collection.

Side A The Harpsichord in italy, France and England
00:00 1. FRESCOBALDI: Partita sopra La Folia Franciscus Harpsichord 1726
04:10 2 . ZIPOLI: .suite in g minor Aiessandro Cresci Pilano 1760
09:04 3. COUPERIN: Ordre No. 26 Ruckers Harpsichord 1623
4. BLOW: Suite No. 6 in g minor Crang Harpsichord 1745
5. HANDEL: Suite No. XV Crang Harpsichord 1745

Side B The Clavichord in Germany
27:00 1. FROBERGER: Auf der Mayerin M. Thomas reconstruction clav.
34:43 2. FROBERGER: Lament written in London M. Thomas reconstruction clav’.
39:45 3 BUXTEHUDE: Allemande & Suite d’Amour Deckert Clavichord ( 18th Cent.)
44:13 4 RITTER: Suite & Fugue in f sharp minor Deckert Clavichord

The harpsichord has two generally-known features. First, it creates sounds by the action of plucking strings (as opposed to striking); second, the harpsichord is an ‘old’ instrument, that is to say, it reached the height of its popularity and development in an age now Pallt. These are the two essential points, but those wishing to investigate the matter further will find a number of other very Significant points.
First of all, the instrument manufactured today under the general term of ‘harpsichord’ differs considerably from harpsichords of the 18th C. In general, harpsichords of today are very much heavier in construction, thus affecting the freedom of the vibrating agents. The old laws of acoustics and proportions have largely been lost, and the accent is now placed on plectra of different kinds plucking in different parts of the string to produce different qualities of sound. The plectra of today are usually of leather, rather than quill.
The modern harpsichord is no doubt a fine instrument in its own right; the idea is at present gaining support however, that the modern harpsichord is too different from its 18th Century counterpart to be able to reproduce properly the earlier music. Michael Thomas’s research, broadcasts and recordings place him very much in the forefront of this movement favouring the performance of old harpsichord music on the instruments for which it was written.
All these instruments are played using their original actions and jacks. (except for the Ruckers). In those cases where leather plectra were substituted this century they have been replaced by quills similar to the original. These quills have a characteristic attack with clarity and give the harmonic series for which the harpsichord was designed. Michael Thomas’s research has in fact led him on to discoveries of even greater interest. Briefly stated, the national schools of early harpsichord construction differ widely from one another and tie in exactly with the respective schools of composition. Thus the old harpsichord music of, say Italy, comes into its own only on an ITALIAN harpsichord of the period. The treatises on performance written by various Barock composers can be contradictory and almost unintelligible-until put into practice on a instrument of the period and nationality. This record is not just a group of works performed on old instruments; it is an attempt to show the fusion of music and instrument of a particular period and nationality. To get the full message of a stereo record it is essential to play it on stereo equipment; in just the same way, music and instrument, period and nationality must combine. Through the progress of this record and the following notes, the listener will be shown the different national styles of keyboard composition, played on the only types of instrument which can really bring them to life. On the first side, Italian, French and English harpsichords are represented. On the second side, two German clavichords can be heard, the clavichord being the equivalent keyboard instrument in Germany.
The Producer.

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