[69] The action of all these keyed instruments, whether called virginal, spinet, clavecin, clavichord, harpsichord, cembalo, is the same, namely, a “plucking” of the string by a projection of quill or leather. The exception is the German clavichord, which was not a keyed harp, but a keyed “monochord,” with key levers in connection with “tangents” of metal, which sounded the string and cut off the right length of it at the same time.
[70] The German clavichord referred to in the note was able to produce a most delicate effect of tremolo or repetition, called Bebung. This was possible simply on account of the “tangential” action of the German instrument.
[71] Alberti rather deserves the title of an early “decadent.” His broken-chord formula is mainly a way of avoiding trouble in writing real passages.
[72] Pieces by Durante, Galuppi, Porpora, Paradies, and Ferdinando Turini (1749-1812), also the disputed movements mentioned on p. [82], which bear Rossi’s name, may be found in Litolff’s publication “Les Maîtres du Clavecin.”
German Clavichord, 17th century, “gebunden” (explained on [page 22]). De Wit collection.
Bach
In 1717, when Scarlatti as yet dreamed not of his Spanish renown, and shortly after Couperin’s first little pieces had appeared, the Parisian clavecinist Marchand made a journey to Germany. At the Polish court of Dresden he created a furore by his playing, and a famous contest was the result, got up, as it appears, by intrigue, between Marchand and an organist of Weimar, Johann Sebastian Bach. The King was present in person. Marchand began by improvising variations on a French song, and was loudly applauded. Bach then took the same theme, but varied it twelve times over so marvellously that without further contest he carried off the palm from his famous adversary, who, when Bach proposed a competition on the organ, incontinently fled from Dresden.
Who was this Bach, and what was this sudden development of German music? Hitherto not much had been heard of it in foreign countries, and on looking at the German tablatures[73] of the older time one could only recognise an honourable but somewhat clumsy struggle. In the sixteenth century, perhaps when, in wider circles, some mention was made of the great vocal compositions of Isaac and Senfl, a certain Nürnberger, Hasler by name, proposed himself to Gabrieli in Venice as a pupil, and later his renown was heard at the courts of Vienna and Dresden. In the next century another German, Johann Jakob Froberger, was associated with Frescobaldi in Rome, and his fame also was afterwards heard at the Viennese court. He cannot have been unpopular, for a number of anecdotes clustered round his name. Froberger, and with him Pachelbel of Nürnberg, began the emancipation of the clavier in Germany. In the Hanse Towns of the north were good organists, such as Buxtehude in Lübeck and Reincke in Hamburg; but no one in Italy or France troubled himself with them.