List of Keyboards 

In England, the bentside spinet was a favorite domestic keyboard instrument since it takes up less room than the harpsichord, is less complicated to maintain and produces a powerful tone. John Crang was considered to be one of the finest makers of spinets, but only two of his instruments survive today. This is the older example of his work and has a five octave range (GG-g3) with natural keys re-covered with ebony or stained rosewood and ivory topped accidentals. The case is beautifully veneered and the inlaid nameboard has a traditional Latin motto that reads "Musica Laborum Dulce Levamen" and translates as "Music is a sweet relief for labors." Credit: Met Museum 

Benjamin Crehore may have been the first native born American maker of pianos and was the earliest New England piano maker that is known. This square piano is one of six pianos documented by this maker. Credit: Met Museum 

A stunning example of one of the first pianofortes. 

Single manual; original keyboard compass F1/G1/A1–C3, extended to f3 in 1795; 8' and 4' stops. Registration is controlled by shifting the keyboard. In terms of size and scaling, the instrument is a harpsichord with a laterally placed keyboard, while its construction classifies it as a spinet. To date, only three instruments of this type are known to have survived: the one described here; another unsigned *cembalo traverso*—also highly likely built by Cristofori—now in the US National Museum in Washington; and an instrument built in 1731 by Giovanni Ferrini (Cristofori’s pupil), now in private hands. Bottom board of poplar, 12 mm thick, set between the case walls; the section beneath the keyboard has been replaced. Case walls of linden(?), 13.0–13.5 mm thick, butt-jointed and doweled; only the upper edge veneer is mitered. Single-piece lid, attached to the rear wall with hook hinges. Poplar liner, not extending as far as the soundboard. Internal construction remains unknown. Based on numerous authentic points of correspondence, the instrument can be identified as the work of Bartolomeo Cristofori. Key indicators include traces of workmanship—such as the markings for jack placement on the bottom board, the construction of the bridges, registers, jack tongue slots, and the registration mechanism—as well as the matching keyboard dimensions and the handwriting of the numbering. Cristofori’s authorship can be confirmed here, as the absence of a signature—whether due to loss or original omission—can be plausibly explained.

Credit: Uni Leipzig

The external design is modelled on the spinet he built (see Inv. No. 86). The instrument has thick walls. In the bass register, eight double-armed intermediate key levers run transversely to the actual key levers; their ends engage with the rear end of the key corresponding to the higher note in a double-stop combination and are actuated when the front key is pressed down. The double-stop combinations are: 1F–1G, 1A–1B, 1H–C, C♯–D, E♭–E, F–F♯, G–G♯, A–B. From H upwards, the clavichord is fretless. The strings of this instrument, which is double-stringed throughout, run in the range from 1F to b on 12 individual bridges running perpendicular to the back panel, each carrying 1–3 sets of strings (‘Italian scale’), whilst from h onwards the strings are routed over a continuous, curved soundboard bridge.

Credit: Uni of Leipzig

Source: Restoration report by Josef Meingast. Published in: Das Musikinstrument 2/3 1994

This spinet is the earliest surviving work by Cristofori. It was designed and built for Ferdinando de’ Medici two years after the musician settled in Florence, where he had been appointed by the Grand Prince as strumentaio, responsible for the maintenance, construction, and transport of musical instrument

Credit: Tony Chinnery

Single manual; original keyboard compass F1/G1/A1–C3, extended to f3 in 1795; 8', 4' stops. Registration changes are effected by shifting the keyboard. In terms of size and scaling, the instrument is a harpsichord with a laterally mounted keyboard, while its construction classifies it as a spinet. To date, only three instruments of this type are known to have survived: the one described here; another unsigned *cembalo traverso*—also highly likely built by Cristofori—now in the US National Museum in Washington; and an instrument built in 1731 by Giovanni Ferrini (a pupil of Cristofori), now in private hands. Poplar bottom board, 12 mm thick, set between the case walls; the section beneath the keyboard has been replaced.

Credit: Uni Leipzig

The instrument is unique; as a specialized type, it represents an original creative achievement by Cristofori, who—just a few years before inventing the hammer-action piano—devised ingenious engineering solutions and executed the work with unsurpassed craftsmanship. With this instrument, he succeeded in combining the advantages of a harpsichord—long bass strings and double-strung courses—with the more intimate profile of a spinet, creating a form that is both visually appealing and impressive.

Credit: Uni Leipzig