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Steven Sorli began his harpsichord making career in 1971 as an apprentice of the famous Boston harpsichord maker, Frank Hubbard. He quickly became skilled in all facets of the craft and was especially gifted in the art of decoration. Steven set up his own workshop to design, make and adorn harpsichords individually from scratch. His construction process relies on intuition and ingenuity to ensure a serviceable and singular work of art. The sound qualities achieved by Mr. Sorli are often described as having a distinctive antique tone. Innate artistic abilities contribute to a tasteful blend of color and form that add a complimentary balance to the tonal shades. In 1982 he was awarded a craftsman's fellowship grant from the National Endowment for the Arts. Over 80 instruments have left his workshop and are scattered throughout the United States and abroad.

At the turn of the century, Mr. Sorli began designing many models of the lute-harpsichord or lautenwerk. There are many words and spellings of this instrument including lautenwerke, lautenwerck, lautenclavicymbel and theorbenflugel (theorbo-harpsichord). An example of the plural form is lautenwerke or lautenwerken. This type of instrument was originally fitted with gut strings and sounds very much like a lute or nylon-strung guitar. The response to this revival of the lautenwerck has been quite positive.

Sacchi Painting "Marcantonio Pasqualini Crowned by Apollo"

Mr. Sorli is the first harpsichord maker to resurrect the keyed lyre or clavicytherium with an open lyre. This upright instrument is inspired by the oil painting "Marcantonio Pasqualini Crowned by Apollo" by Andrea Sacchi (1641). It has one choir of 8' gut or synthetic gut strings with a range ofGG-d3. The total height is 81" and takes up only a 37" by 18" floor space. The sound from the small soundboard just above the keyboard was frequently described as "magical" at the Boston Early Music Festival. The sound has a sweet, hollow, vocal quality that radiates out from both sides of the soundboard when the back lid is open. This instrument resembles a lute and harp in sound and is amazingly versatile. Place your order early for one of the musical sensations of the century. Recent owners of the Sorli clavicytherium are Peter Sykes, Julianne Baird, Mark Shuldiner, Margaret Irwin-Brandon, the Conservatoire de Musique de Geneve and Cristina Banegas of Uruguay. Listen to 20 minutes of this unique sound in the "Sound Samples" page. You can also view and listen to Ryan Layne Whitney playing his clavicytheriumon on YouTube: Click Here For Video

Clavicytherium Gut-Strung Clavicytherium

Mr. Sorli has designed a remarkable hybrid harpsichord/lautenwerk in the 17th Century South German style. This double manual instrument features two brass choirs on the lower manual and one lute choir on the upper. In an effort to maintain the original type of sound produced by a small-sized case and to offer a practical compass of notes, the two keyboards are offset a fourth. The result is 5 extra notes when combining the available notes of each keyboard. The total compass is FF-d''' (58 notes) and the instrument is only 33" wide.

The brass choirs have a sweet, ethereal and fluty sound. When the back 8' is played alone the dampers of the front 8' are off to allow a rich enhancement of sympathetic vibration. This effect is not usually available on a double that has the 8' choirs on different keyboards. A dialogue between the two keyboards renders a colorful contrast in tone. Listen to this beautiful instrument in the "Sound Samples" page.

Also new is a pedal board clavicytherium suitable for practice or performance. This original design stands behind the bench and player with a trestle stand in front to support any style or size harpsichord. This is the only pedal harpsichord which provides the player with a perfect stereo balance of volume between the manual and pedal instruments.

The standard decor includes brown mallee key tops with carved key fronts, oak topped with casein ivory for sharps, stained and painted case, intricate parchment rose, elegantly turned legs and tasteful music desk. All finishes are made from organically grown plant oils and resins. Also included are plastic jacks (wooden optional), unique transposing system (allowing some jacks with no dampers), regulating tools and a padded moving cover.

Boston 2013 Clavicytheria at the Boston Early Music Festival 2013

ssorli@gmail.com
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