Peter Redstone Harpsichords
Manufacturing, Sales, and
Just available and ready for immediate sale:
copy of a 400th Anniversary English harpsichord
Another instrument that is also available per
custom order is a
copy of a Haward
Instruments Made to Order
This spinet is our simplest and least
expensive. It is
early in both style and
It is small and
easily transported and is
Normally of oak,
it can be made in walnut,
cherry, or mahogany should you so
As shown, the price is from $7,200.
is GG/BB-d' ' ', 52 notes and
is 4'8" (1450mm) long.
This spinet is after one of c.1700 by Cawton
in the Burnett Collection at Finchcocks.
The case is of
walnut, with a cedar interior.
The compass is
GG/BB-d'''. The original has
split sharps in the bass:
this one has not, but
adding the two extra notes would
problem. As shown the price is from $9,000
This is one of our most popular single manual
based on a 1742 Mahoon instrument.
It is 6'3" long
(1905mm) and has a compass of
GG - e''', 58 notes, with an 8'
+ 8' specification.
Although the original did not have
a buff stop,
we usually install one. The bass tone is
for so small an instrument. the price is from
depending on options.
The single manual harpsichord is after
Hancock, that is strung all in
brass like an Italian
instrument, but has
a more singing tone. The interior is in
lacewood and it has authentic cast brass
did the original. The compass is
GG-e' ' ', 58 notes and it
has two 8'
choirs and a buff stop.
As shown, the
price is from $16,000.
Based on a c.1720 Francis Coston double
harpsichord, this is my favorite!
It has a great "early"
sound and is a most
elegant instrument. It is about 7'6"
(2285mm) long and the compass is GG-e' ' '.
It has 2x8'
(one doglegged) and a 4'.
There's a buff on the dogleg
choir, but a
French coupler is not impossible. In
walnut, with a lacewood interior, and with
hinges the price as shown
is from $30,000.
This instrument is based on a 1770 Shudi
and is 8'9"(2670mm) long.
With 66 note keyboards,
it goes down to CC
(bottom C on the piano), and has a
sound. It has a typical English disposition,
8'+8' dogleg +4' on the lower manual,
and 8'dogleg or 8' lute
(nazale) on the
upper. The lower 8' has a buff. As
the price is from $45,000.
Somewhat of a rarity, this is an English
copy of a 1772 Backers. It
has a deeper keystroke than
a Viennese, but
is still very light. It is 7'4"
long and has two pedals, dampers and una
corda. As shown, it is $28,500. We also
small, 6' (1830mm) copy of a c.1775
Culliford that is from
$21,000. Both are 5
octaves FF-f' ' '.
In addition to the above we make other models. Please
do not hesitate to contact us for special requirements.
E-mail me at firstname.lastname@example.org
or write to:
Claremont, Va. 23899
Call or FAX me at (757) 866-8477
More About The Maker
encounter with the harpsichord occurred when I was 16. Landowska
playing a Handel suite was like hitting me over the head with a
brick! The result was my going to London at my first opportunity to
the Victoria and Albert museum to look at a harpsichord. I received
permission to measure both the harpsichord and a clavichord. I
concluded that although a harpsichord was beyond me, a clavichord was
not. So I went home and made one!
From that point on, until I
sold my first harpsichord in Guernsey in 1965, I spent all my spare
time haunting the established English makers; Goble, Feldberg,
Dolmetsch, Thomas Goff, Hugh Gough, and above all, Michael Thomas,
from whom I learned the secrets of a good soundboard. Luckily for me
I was a natural when came to woodworking, and in no time at all I
could cut dovetails by hand that fit perfectly!
I moved to
Claremont, Virginia in 1973 with Katie my wife, and since that time,
we have made more than 85 instruments together, whilst raising a
couple of kids, my total now being more than 100 instruments since I
began. For some years I was the Musical Instrument Conservator to the
Colonial Williamsburg Foundation, leaving in 1988 to pursue making my
own instruments full time. During that time I had the privilege of
working with many antique instruments, including a magnificent 1762
Jacob Kirckman double manual harpsichord.
I have never worked
in the mainstream of French and Flemish instruments; having early on
grown to love beautiful woods. Therefore the English, veneered
tradition was just right for me. Over the years I have made HUGE and
decadent Shudi copies that are nearly nine feet long and of which
singers complain because they are too loud, and I have made copies of
unusual early oak-cased ones. These days, apart from the occasional
French and Italian one, I home in on the period when the harpsichord
was at its zenith, around 1680 to 1740, since the sound of that type
of instrument was what was heard by the great harpsichord
My quest for the less-than-usual has resulted in a
couple of firsts also. In 1974 I made the first copy of an English
square piano when I copied a Pohlman of 1778, and the first copy of
an English grand piano in 1981, when I copied the 1772 Backers in the
In recent years, we have made a number of
spinets, which are both beautiful and practical, taking up little
room, and are very stable. They are ideal for musicians to lug around
the country in the back of a car, and can often be played without
even having to be tuned on arrival.
Living Museum of Music
Member of the Harpsichord
and Clavichord WebRing:
5 Sites | Skip
Previous | Previous
Next | Next
5 Sites | Random
Site | List
All photos and text are property of
Peter Redstone Harpsichords.
Contact Peter Redstone HERE
Developed, designed and Maintained by
This is not a sales inquiry or contact address.
Last updated on 8 NOV 2010