Rentals

This instrument was commissioned by MusicSources founder Laurette Goldberg, and was one of John’s first (if not the first) scratch-built instruments. It has had a rich history, having been inaugurated by Trevor Pinnock and played by Gustav Leonhardt, Alan Curtis, and nearly all of the world’s most reputable harpsichord players.

• 8’ front (with buff stop), 4’, 8’ back, quilled in goose quill
• FF-f’’’ (61 notes)
• Transposing a’ = 415/440 Hz

A very early example of a design that continues to be produced to this day and is ubiquitous throughout concert halls and early music institutions across the world. The white oak cabinetwork has sustained cosmetic damage and wear throughout its nearly forty years serving the Bay Area, but the organ’s musical workings are kept in excellent order and continues to appear with many local ensembles.

• 8’ flute, 4’ flute, 2’ flute (all split at c’), quint (from c’ up)
• C-f’’’ (54 notes)
• Transposing a’ = 415/440 Hz

MusicSources board president David Van Ness meticulously reworked an earlier octave virginal and completed an unbuilt spinet virginal, both from Hubbard kits. Unlike the more common muselaar (with keyboard on the right), the spinet virginal (with keyboard on the left) has a nutty sound resembling that of the wing-shaped harpsichords of the 17^th-century Flemish school of building.

• 8’ (mother), 4’ (child), C-c’’’ (49 notes)
• a’ = 415 Hz non-transposing
• “Child” is placed atop “mother” to couple instruments

Built for Handel Opera Company founder Bruce Wetmore, who bequeathed it to MusicSources, this heavily decorated instrument, strung in all brass, has a dry, lean sound appropriate to a wide variety of keyboard repertoire.

• 8’ front, 8’ back (with buff stop), 4’
• FF-g’’’ (63 notes)
• a’ = 350/370/392/415/440 Hz

A fine example of a Flemish muselaar, built with an enlarged chromatic compass while retaining the round and fluty tone these instruments are known for.

• Single 8’, C-f’’’ (54 notes)
• a’ = 415 Hz non-transposing