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Clavichord
The clavichord was the principal practice instrument for keyboard musicians of the 17th and 18th centuries. Reed’s clavichord, built by Byron Will in 1998, is modeled after one from 1784 by the German builder Hubert, and includes the historic features of low pitch (A=390), Valotti temperament, and a four-and-a-half octave keyboard. Decorative marbled papers were crafted by Bonnie Garrett.
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Virginal
Built and donated to Reed by alumna Chloe Lewis, with painting by Reed alumna Elecia Beebe, this virginal is modeled after those used in England and the Netherlands, ca. 1600, and is especially suited for music by Dowland, Bull, Byrd and Sweelinck. Although at modern pitch (A=440), we tune it in historic meantone temperament.
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Italian Harpsichord
Owen Daly constructed this instrument after one by the Sicilian builder Grimaldi, 1690, with the outer case painted by cellist Lori Presthus. Such instruments were used for both solo and ensemble playing, and to accommodate both period instrument and modern performing styles today this harpsichord can be transposed to either low pitch (A=415) or modern pitch. Its four-and-three-quarter octaves are tuned in Werckmeister II temperament, one of the many “well-temperaments” used in the Baroque period. This harpsichord is ideal for Frescobaldi, Scarlatti and Bach.
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Franco-Flemish Double Harpsichord
Reed alumna Wendy Robinson donated this instrument, built by Ken Bakeman in 1973, and fully restored by Byron Will in 2002. As was the style in the 17th and 18th centuries, this harpsichord is visually lavish, with a marbled case, cabriole stand, and paintings on the soundboard. The two keyboards (five octaves each) are tuned at A=415, in Valotti temperament.
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Positiv Organ
Baroque music often calls for a small moveable instrument for continuo playing, and this positiv organ built by Bond Organs of Portland in 1998 fills that role splendidly. A gift from alumna Sukey Roth Garcetti, it can be used at either baroque or modern pitch. The instrument has three stops (the bellows is under the bench) and is perfectly suited not only to its continuo role but to solo repertoire not requiring pedal.
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