Brugge 1

I'm in Brugge for the Early Music Festival, and festival it is! Nearly a week of concerts, sometimes two a day, plus the largest exhibit of early keyboard instruments probably anywhere in the World. There is so much music happening that I wonder if I'll have time for the many excellent museums here.

Brugge is quite a busy tourist spot this time of year, one that seems to attract mostly Europeans. It is quite something: a medieval town that managed to escape the ravages of two world wars. The skyline is dominated by church spires, which all seem to be ringing their bells this very moment. I don't think I can recreate this experience in America. The streets are crowded with happy people on holiday and the weather is particularly nice. This is the life! My hotel is just a couple of blocks from the main square and as central to the many concerts as one could wish for. There is lots of opportunity to walk, with every sight a postcard view.

I started the day with the exhibit hall. Located in "The Belfry", just off of the market square, it is a large U-shaped hall that is absolutely packed with early keyboard instruments: harpsichords, fortepianos, and an amazing selection of clavichords. Of course, the builder of my clavichord, Joris Potvlieghe, is there with his latest completed instrument: very similar to mine with minor changes in the decoration. Playing it reminded me how much my instrument has matured in sound and character. I will be writing a report on all of the clavichords for Clavichord International; it could take me all week to do all of the builders justice. I have to find time to visit the many harpsichords. I have already found my "dream instrument": built by Malcom Rose, it is based on the anonymous French instrument of 1667. Alas, it is not a practical all-purpose instrument, but I could think of hardly anything better for basically everything that preceeds Bach.

There are many attractively decorated harpsichords. An Italian built by Jean-Michel Chabloz has a stunning stand and a colorful lid painting incongruously of Alpine scenes. The builder told me it was to be part of a series of four instruments that depict each of the seasons.

I couldn't miss the Theorbenflügel by Hungarian builder Tihamer Romanek. Literally, as it is right next the entrance. It would be hard to miss in any location, as it is built like a very large lute. There have been other builders who have tried to recreate the lute-harpsichord. Some basically build a harpsichord with nylon or gut strings. Anden Houben builds them with a lute shape, but not nearly on this scale! Mr. Romanek said that he plans to build an even bigger one. I would like to see and hear that one; I have yet to hear one that really lives up to expectations: they do not sound like lutes, including his current opus. A bigger instrument with longer strings and perhaps a lower pitch might get one closer.

There is so much to write about, but I have to ready for the first concert, which I will write about tomorrow morning. After all, this sojourn is mostly to hear music. However, I'll be back to The Belfry through the week to view more instruments.