Ruckers Appeal

 

APPEAL FOR THE PRESERVATION OF THE HARPSICHORD BY
ANDREAS RUCKERS, 1636
ravalement by Henri Hemsch, 1763

The 1636 Ruckers harpsichord in the Cobbe Collection is one the finest surviving playable instruments from the greatest harpsichord makers of all time. Richly decorated with flowers on the soundboard, with the original landscape by Jan Wildens on the inside lid, and with mythological scenes taken from the works of Titian and Poussin on the exterior, it is the high point of the musical collection at Hatchlands. Following detailed examination by Christopher Nobbs, who has written opposite about the instrument, and Miles Hellon, both highly distinguished restorers and scholars of historic instruments, it has become apparent that the instrument needs serious remedial treatment to keep it in good condition. The cost of this highly specialised and skilled work, estimated at approximately £25,000, falls well outside the capabilities of the charity's normal restoration budgets. Consequently we are launching an appeal to raise the amount. Any support you can give to help us preserve for the future the sound of this exceptional masterpiece will be greatly appreciated.

Alec Cobbe
 


THE 'RUCKERS-HEMSCH', to use the affectionate nickname by which it is known to players, makers and scholars worldwide, is one of the most celebrated historical keyboard instruments in playing condition. A product of the greatest school of harpsichord building of the 16th and 17th centuries, it passed through one of the finest Parisian workshops of the 18th century to come down to us as a masterwork of the instrument makerÕs art, both aurally and visually. At Hatchlands it has found a home in an ideal setting, and where it is guaranteed a continuity of knowledgeable care by the Cobbe Collection Trust.

Over three hundred and fifty years old - and probably under tension for a good part of that time - it now needs restoration and conservation. The soundboard and case of Andreas Ruckers, extended by Hemsch, has suffered inevitable distortions, small structural failures and poor repairs, and needs sensitive restoration for strength and stability to prevent deterioration. The elegant and refined mechanism by Henri Hemsch, apart from wear and tear, suffers from improvised repairs and new components from the 1960s, so that touch, evenness and reliability are not good enough for us to experience its true quality. Apart from insuring a fresh lease of life and a playing condition that will do full justice to this beautiful harpsichord, restoration will give an opportunity for the constructional detail and history to be thoroughly recorded and made available to researchers and makers.

Christopher Nobbs

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