keithhillharpsichords.com - Keith Hill - Instrument Maker

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Keith Hill - Instrument Maker
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Violin - Opus 425
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Marianne Ploger
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"The Art of Listening"
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DEFINITIONS
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1972 â 1978
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Opus 1 â 57
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1979 â 1984
strong
Opus 58 â 194
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1985 â 1995
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Opus 195 â 306
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1996 â 2003
strong
Opus 307 â 374
h1
INTRODUCTION
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INTRODUCTION
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PREFACE
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LIST OF YOUTUBE VIDEOS WITH HILL INSTRUMENTS
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PAGE REFERRALS
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LIST OF CONTENTS
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The recording offered below was recorded live by Professor of Harpsichord, Mark Edwards, at Fairchild Chapel in Oberlin, Ohio on September 27th, 2016 on my most recent harpsichord, a copy of the 1624 Ruckers harpsichord in Colmar, France. I made the instrument in April of 2016 and finished the instrument in September. The photo below is of Prof. Edwards preparing for the concert on that harpsichord when the instrument was in the conservatory building the afternoon of the concert. This instrument is presently for sale.
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Since I began building instruments in 1971- 1972, I have made more than 494 instruments for professional musicians and serious amateurs alike. In all that time, I have received only half a handful of thoughtful well considered critiques about my instruments. That makes a review written to me recently by Jan Katzschke of Dreseden, Germany all the more interesting. As most of my readers already know, I base my work exclusively on aesthetic and musical principles that I submit myself to and apply as faithfully as possible. The less of my self I interject into the business of making an instrument the better. This review, see below, is an affirmation that my decision to govern my instrument making behavior according to these principles was not made in vain.
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Jean-Philippe Rameau - Nouvelles Suites de PiÃ¨ces de clavecin , Sarabande (1727) played by Jean Rondeau â harpsichord by K. Hill Opus 194, after the Ahaus Ruckers, made in 1984
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To assess the quality of an instrument I rate every possible enhancement on a scale of one to 100. 1% assumes that the instrument is a competent piece of woodworking. 100% means that the maker has divined every possible means of enhancing the sound of an instrument and has applied all possible enhancements. I always use the finest, best sounding great antique instruments from the 17th or 18th centuries as my acoustical standard and call them â100%â instruments. Why? Because the ancient makers did everything in their power to enhance the sound of each instrument they made. The Colmar 1624 Ruckers is an 85% instrument only because the maker who converted the instrument from its original condition in order to upgrade the compass and specifications was not particularly astute about all possible enhancements of the things that got changed. The de Zentis that I restored in 2004, now in Montisi, Italy was a 100% instrument until the original 17th century Ivory key tops had to be removed due to customs requirements in order to ship it to Italy. The Grimaldi in NÃ¼remberg, Germany is a 100% instrument. The Jan Couchet in Brussels, Belgium is also a 100% instrument. The Ahaus Ruckers used to be a 100% instrument before it was degraded in restoration to a 65% instrument as the soundboard was removed to flatten it. The 1769 Taskin was a 100% harpsichord when I first played it 45 years ago. Indeed, most well restored working antique harpsichords average between being a 55% - 85% instrument, because not all makers from the Baroque period had a complete knowledge of how to enhance every part of the instrument.
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