Editing Clavichord (section)

==Repertoire==
Much of the musical repertoire written for [[harpsichord]] and [[organ (music)|organ]] from the period circa 1400–1800 can be played on the clavichord; however, it does not have enough (unamplified) volume to participate in chamber music, with the possible exception of providing accompaniment to a soft baroque flute, recorder, or single singer. [[Johann Sebastian Bach|J. S. Bach's]] son [[Carl Philipp Emanuel Bach]] was a great proponent of the instrument, and most of his German contemporaries regarded it as a central keyboard instrument, for performing, teaching, composing and practicing. The fretting of a clavichord provides new problems for some repertoire, but scholarship suggests that these problems are not insurmountable in Bach's [[Well-Tempered Clavier]].

C. P. E. Bach, one of the leading representatives of the 'Empfindsamer stil' or 'Sensitive Style,' emphasized emotional depth and expressiveness in his compositions. The clavichord was very successful in conveying these characteristics. With its unique sound, touch sensitivity, and ability to convey the most delicate nuances, the clavichord became C. P. E. Bach's most preferred instrument.{{sfn|Brauchli|1998|page=}}{{pn|date=November 2023}} C. P. E. Bach also used the fortepiano in his compositions, but he was much more interested in the technical features provided by the clavichord. He mentioned this in his book (Versuch über die wahre, Art das Clavier zu spielen, Carl Philipp Emanuel Bach, Berlin, 1759.):
''"Of the many keyboard instruments, many of which are little known because of defects, or because they have not yet been introduced everywhere, there are two which have been most widely acclaimed, the harpsichord and the clavichord. The former is used mainly in louder music, the latter alone. The more recent pianofortes, when they are durable and well built, have many advantages, although their touch must be carefully worked out, a task which is not without difficulties. They sound well by themselves and in small ensembles. Yet, I hold that a good clavichord, except for its weaker tone, shares equally in the attractiveness of the pianoforte and in addition features the vibrato (Bebung) and portato (Tragen der Töne) which I produce by means of added pressure after each stroke. It is at the clavichord that a keyboard player may be most exactly evaluated."''{{sfn|Brauchli|1998|page=}}{{pn|date=November 2023}}{{sfn|Loucks|1992}}{{pn|date=November 2023}}

Among recent clavichord recordings, those by [[Christopher Hogwood]] (''The Secret Bach'', ''The Secret Handel'',<!-- That's the title: see http://www.amazon.co.uk/dp/B000CDYDGC --> and ''The Secret Mozart''), break new ground. In his liner notes, Hogwood pointed out that these composers would typically have played the clavichord in the privacy of their homes. In England, the composer [[Herbert Howells]] (1892–1983) wrote two significant collections of pieces for clavichord (''[[Herbert Lambert|Lambert]]'s Clavichord'' and ''Howells' Clavichord''), and [[Stephen Dodgson]] (1924–2013) wrote two clavichord suites.

In a note written by Wolfgang Amadeus Mozart's wife, Constanze Mozart (1761–1842), found inside Mozart's clavichord, it is mentioned that Mozart composed his works, including The Magic Flute, La Clemenza di Tito, The Requiem, and a Masonic Cantata, on this clavichord.{{sfn|Brauchli|1998|page=}}{{pn|date=November 2023}}

Haydn composed the greater part of "The Creation", one of his masterpieces, on the clavichord. He used the clavichord to accompany the voice.{{sfn|Brauchli|1998|page=}}{{pn|date=November 2023}}