For a beautiful sound ...
Welcome at Kielflügel-Kunst - Roman Sukac & Michael Scheer
In our work we want to realize principles that have emerged over time. There is, for example, the conclusion: As exactly an instrument is copied, it always arises a copy and never the reality of the original. This consideration gives us on the other hand the freedom to build our own creations, but they do not deny the inspiration of their role models. So in our work we have arrived to the point where we are trying - with the means at our disposal today -to continue the work on the ideas and experiments of our "Old Masters".
Aware that the sound of harpsichords is submitted to the taste of the different times, it is our ambition to show the instruments in their individual nature: some are gentle and lovely, some solemn and austere, some rebellious and untamed.
Instead of copying strictly, we strive in dealing with the different construction principles, today's building materials, the listening habits and their conversion, to create "new originals" from the tradition of different schools known to us.From what has been said it is understandable, why we offer no solid construction program, but want to show different instruments from different schools:- Flemish instruments from nothern Europe by Moermanns and Bull, - from the South Italian harpsichords and polygonales e.g. by Zenti and Pertici, - and from the heart of Europe harpsichords by Schmuz and Stehlin, as well as the only known South German Viginal harpsichord.
This Virginal harpsichord may be cited as a witness for the eagerness to experiment and for the imagination of the Old Masters. Probably built around 1600, signed by A.R., and magnificently decorated, this instrument has two Nasarde. The first tears with brass noses, the second with quills. It has two registers corresponding to about Italian pluck points and another register which plucks at the far back like the Virginal. Furthermore the lute of this exceptional instrument acts on three registers.
