“Raynham is hugely fortunate to have such a fine harpsichord from the eminent Norwich builder, Alan Gotto. As a player, the sound and action are of course the most important elements and this instrument is quite simply a dream to play. It has beautiful, clear registers, a refined action and an exuberant sound which matches the wonderful decoration both inside and out.”     Maggie Cole

Alan Gotto writes:  When I was first approached by Alison about the possibility of making her a harpsichord there were two important questions to address. Firstly, what particular model of harpsichord would appeal and be most suitable for recitals, and how it should be decorated.

Initially, Alison was completely smitten by the tone of an instrument based on a Goermans/Taskin harpsichord but weighing that preference against another double-manual instrument capable of rendering a wide range of repertoire, we agreed to base the instrument on a 1716 harpsichord by Pierre Donzelague, who worked in Lyons at the beginning of the 18th century.

After some discussion, and looking at various decorative possibilities, Alison soon came to the firm decision that chinoiserie had the charm and adaptability of fitting in with most decors, whether it be William Kent splendour at Raynham or a low beamed cottage should that be its fate later in life. Continuing this Chinese theme, Alison was keen to have a Chinese dragon depicted on the soundboard.

Angie Maddigan, in Sheringham, had previously executed a chinoiserie scheme for her, and she was commissioned to undertake a scheme on black and red ground for the case and lid of this instrument.