Gesualdo? Split-key harpsichords

Most important here are perhaps the historical notes at the end of
this message, which will at least have been OKd, if not written, by
Stembridge.

�ale C. Carr

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Christopher Stembridge & Willard Martin will present
a lecture & demonstration on Mr. Martin�s special
instrument, the chromatic harpsichord

Wednesday, February 28 at 8:00 p.m. at the
University of Pittsburgh Frick Fine Arts Auditorium

This event is free! Seats will be available on a
first come, first served basis. (no ticket is required)

Don�t miss this opportunity to see and learn all about
the unique cromatico cembalo---an instrument
with 19 notes to the octave!

Historical information about the instrument can be found below.
If you have any questions about this event, contact Ann Mason (412)
682-7262
or email director@rbsp.org

CROMATICO CEMBALO
Historical Comments

A Cromatic Cembalo is understood to be a harpsichord with 19 notes
per
octave. The cromatico keyboard assumes the use of quarter comma
meantone
tuning, which normally allows only 8 pure thirds. Each accidental is
split
to
provide both a true sharp and flat, and true B sharp and E sharp keys
are
also provided. This permits 7 additional pure thirds. Antique
cromaticos
were made from the mid 16e until 1660 and later, but there is no
antique
cromatico which survives intact. However parts do survive from four
cromatic
cembalos which were later rebuilt into normal harpsichords. (Two
survive as
cases with repinned soundboards, two others are cromatico keyboards
which
were later modified into 12 notes/octave keyboards and installed in
new 18e
harpsichords.) Mid-16e writers such as Vicentino (1555) and Zarlino
(1558)
discuss the cromatico in matter-of-fact terms suggesting that they
were
already known. Luzzaschi introduced Gesualdo to the cromatico in 1584
at
the
Ferrara court where it had been used as an exclusive court instrument.
Gesualdo returned to Naples where local musical fashion seized on the
new
idea, providing both theoretical writings (Stella, Colona) and a
considerable solo repertoire. Published Neapolitan composers between
1603
and 1641 include: de Macque, Trabaci, Mayone, del Buono, Salvatore,
and
perhaps M. Rossi (his famous seventh toccata).

In 1618 Praetorius described a cromatico which he knew in Prague.
By
chance that particular cromatico is well documented in Hapsburg
inventories
from Prague and Vienna, and was available to Arcimboldo when he was
preparing
his discussion of direct conversions between paintings and musical
compositions, using a cromatico, which he published in 1590. The
Hapsburg
cromatico itself is known to have been inspired by a cromatico seen in
Venice
before 1574 by the Hapsburg court organist Jean Buis, who immediately
ordered
one for the court in Vienna. It was moved to Prague 10 years later.
Praetorius� account inspired further cromaticos to be made in northern
Europe.