Building a harpsichord requires very high woodworking skills and a deep knowledge of the historical building methods as well as, of course, a great experience in the practice of  ancient music.

My harpsichords come from passion and love for baroque music. After the study of the original instruments and building techniques I have decided to  adapt them to the needs of the modern player, trying to remain, however, as close as possible to the originals, and keeping all the main characteristics (both musical and technical) that made those harpsichord so peculiar.

The accurate choice of wood, the development of highly accurate  building methods and the knowledge acquired during many years of research and experimentation give my harpsichords a great stability, precise and accurate action and a beautiful, round, dark unmistakable sound.

I also know very well that the majority of original instruments have been altered during the centuries by inaccurate restorations or nearly criminal manumissions. It is very difficult, whenever possible, to find out what were the actual characteristics of a harpsichord in its original and unaltered conditions. My commitment is to make keyboard instruments that sound and look as close as possible to the originals, trying to reproduce the techniques used in the past, and listening very carefully to the suggestions that the instruments themselves try to give us.

It is also very important to take into account that, very often, people who buy a harpsichord want an instrument that can be suitable for a wide repertoire. This is the reason why, besides the ones with the original compass, disposition, stringing, voicing and pitch, I make  the same models with wider ranges, standard (A=415) diapason and delrin plectra.

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