Welcome to Gaia! ::

You're right that the period instruments are more fragile, and we do have to treat them with care, but it's not like they're going to break if you touch them a tad harsher than a brush of the keys! Broken quills are common on the harpsichord, though I've never actually broken one myself...

I would say you need a "sensitive" touch for the period keyboard instruments, rather than delicate. It's senseless to apply the same amount of force you'd use on a piano to harpsichords, pianofortes, etc., but because of the limited effects you produce on them, you have be to be extra conscious of the sound you're making.

...not that I'm saying you shouldn't be sensitive on a piano, but there's a lot more leeway on pianos, to be certain.

I was blessed with the opportunity to play a few Bach Inventions on the harpsichord many a summer ago. To say the least, his music is far more exciting that way ^__^

I used to know a website where you could buy a "build your own harpsi/clavichord" kit, that included double manuals, single manuals, virginals, etc etc.
Unfortunately, I lost the link in a computer overhaul sad

waaah this is so complicated crying

I don't know about anyone else here, but we've got three harpsichords at my uni - two general purpose (a smaller, German model that's built like a tank, which we keep in a practice room; and a larger model that was donated and some idiot used glue to keep the board from shifting so it needed a lot of love - it's also a pain to keep in tune) and the harpsichord professor's personal one that's used for recitals.

My Oma has a spinet - it's so tiny and she usually keeps it under a tablecloth, so I assumed it was a weird, triangular side table until she uncovered it for me.

I find it very odd to sing with a harpsichord - it sounds so delicate and small that I end up singing smaller and lighter to match. And it's a bit harder to stay in tune with, but I don't know why. It's easier when it's part of a chamber orchestra, though.