Clues beneath the varnish

For years, harpsichordist, fortepianist, researcher and collector of instruments Michael Günther searched for the origins of an old harpsichord he had bought on a relatively spontaneous whim at an auction in Belgium: was it truly a valuable instrument—or a costly misstep, fit at best as a decorative piece? Here, he continues his account of how various coincidences and encounters ultimately led him to the surprising resolution of the mystery.

A visit to the Deutsches Museum in Munich with Hubert Henkel confirmed that the oldest fundamental parts of my instrument dated back to the 17th century. Without a doubt, the range had later been extended upward, just as Nicomede Agati had noted in 1815. Henkel said that, given the quality of the instrument, one should expect (with a bit of luck) to find at least one more instrument by the same cembalaro, which might aid in a potential restoration. My cautious question, “Do you think restoration would be sensible and justifiable?” prompted an in-depth discussion. Even then, the question was debated: should antique harpsichords be restored at all, or merely preserved, so that the instrument could be retained for the future as a document? 

To restore — or only preserve? 

It goes without saying that restorations should only be carried out with reversible interventions, but can this always be guaranteed? And if a harpsichord is to be restored, to what condition? To the original state intended by the builder, or to one of the later states?

Even back then, it was widely accepted that instruments should be preserved in their last state so that all previous ones would be preserved. We also thought that my instrument might have a better chance of surviving the next few centuries if it was carefully restored and played than if it had a dangerous, restless life packed away in various boxes due to removals, inheritances, sales, etcetera. And don’t the sound and playing characteristics also have a right to be studied?

One conclusion was that the question of conservation or restoration should always be considered on a case-by-case basis after a sober examination of the instrument.

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