THE PARIS WORKSHOP
Early Keyboard Instruments for professional and amateur builders
Instruments à clavier de facture historique pour facteurs professionnels et amateurs
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THE PARIS WORKSHOPEarly Keyboard Instruments for professional and amateur buildersInstruments à clavier de facture historique pour facteurs professionnels et amateurs
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Wolfgang Joachim Zuckermann invented the concept of the harpsichord “kit”
in the early 1960s. Produced in his New York workshop, it was a rather simple
affair without a bentside. Even though the keyboard more resembled that of a piano
and its soundboard was made from plywood, the “Slantside”, as it was
affectionately known, became one of the most popular harpsichord models ever.
The wooden pieces for the case, along with some other commonly available parts,
were not included, so the price was set at a most economical $150. Little by little,
the first Zuckermann “kit” became more elaborate and complete.
In 1969, Wolfgang wrote The Modern Harpsichord, in which he described
all the harpsichord makers of his time, together with their philosophies and
details of their production. He soon became the close friend of his editor and
publisher David Jacques Way of October House, to whom he in fact sold Zuckermann
Harpsichords Inc. in 1970.
David J. Way set about enthusiastically and rapidly modifying Wolfgang’s
original kit, with the aim of making the design more traditionally based and
aesthetically pleasing. A workshop was established in the picturesque fishing
village of Stonington Connecticut (between Boston and New York) in 1972. The
decade to 1980 saw the arrival of many models inspired by original instruments,
commencing with the Flemish Single. The French Double followed, then a Virginal,
Italian and Clavichord appeared. The Flemish keyboard range was enlarged and
a second keyboard added. The English Bentside Spinet and the Fortepiano were
next. During this time, original materials were also researched, and the Stonington
workshop was the first in the world to establish the general use of solid wood,
soft wire and historic-profiled tuning pins that we all take for granted on the
finest instruments today.
In 1973, Marc Ducornet, who had initally learnt his craft of harpsichord making
from an English builder, became the French representative of David J. Way. Their
relationship developed so much so, that in 1982, he entered into partnership
with David Way to open the Montreuil (Paris) workshop for the manufacture of
the Zuckermann “kits” in France. The output of this workshop initially
paralleled the American production, and both shops continued to work closely
and successfully together over the years.
Little by little, the atelier in Montreuil thrived and before David Way died
suddenly in February 1994, Marc Ducornet was supervizing the conception and design
of the instruments, as well as manufacturing fully 70% of the parts for USA and
Europe.
To avoid the possible closure of the American workshop at David Way’s death,
Marc Ducornet, with the agreement of David’s wife Katherine, decided to
keep it running to perpetuate David in our memories. Accordingly, Marc Ducornet
offered Richard Auber—one of his early American apprentices who knew David
and already lived nearby the Stonington shop—the position of heading the
US operation.
After five years of continued cooperation, it became apparent on both sides of
the North Atlantic that it was time for change. For this to be best accomplished
it was agreed that it would probably be impracticable for two workshops on separate
continents to continue working so closely together. In March 1999 therefore,
Marc Ducornet decided to peacefully conclude his lengthy association with the
American workshop so he could concentrate on the creation of numerous new instrument
designs in France.
To distinguish the differences with the original United States-based models which
evolved over more than two decades, Marc Ducornet, together with his Agents,
decided it was high time to come even closer to the historic principles of construction
and materials—wooden jacks would be standard, for example—and to
benefit from the excellent manufacturing facilities available at Montreuil and
twenty-five years of experience to make the instruments even more professional.
Wolfgang Zuckermann, who has been living in the south of France for many years,
has come out of harpsichord retirement to eagerly join his friend Marc Ducornet
in the “new” enterprise.
The output of the newly-produced instruments from France will be known very simply
under the name “THE PARIS WORKSHOP”, and will
be available direct through a worldwide network of knowledgeable and helpful
Agents.
THE PARIS WORKSHOP: Marc Ducornet, Wolfgang Zuckermann, Emmanuel Danset & Associates
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