Restoration

Restoration and preservation work on musical instruments follows the same principles and presents the same issues as that on other types of cultural heritage. The difference lies in the expectations projected on the restored musical instrument: it should be ready to be played and used in so-called “historically informed” performances. By restoring ancient musical instruments, we were able to shed light on both the timbre of instruments from historic eras and the performance practices of such eras. The ultimate purpose of any restoration work is for the instrument to be played professionally, thereby making it possible to gain insight into ancient sonorities. 

Restauro 2 scaled
Restauro 3 scaled

It should be noted that musical instrument restoration has always been a controversial topic, giving rise to oftentimes opposite views–which to this day is subject to conflicting opinions. Each restoration is a story in itself, which requires study and profound understanding on the part of the restorer, who has to balance the core concepts of the art of restoration and the natural desire of the owners to be able to play their instrument again. There is no doubt, though, that reversibility often cannot be achieved as a result of the normal decay of leather and felt, as well as of ancient plectrums and metal strings. The corrosion, dirt build-up and wear of the musical instruments’ perishable parts is a documentary aspect to be taken into account. The early keyboard instruments are complex machines, made up of hundreds of elements often built using perishable organic materials. Moreover, sometimes musical instruments to be restored have already been altered from their original project, this complicates the restoration which only with profound experience can bring the instrument back to its original state. 

Our commitment to reconstructing the missing parts is a constant challenge, since the ancient production techniques have been lost but thanks to a profound knowledge of the historical originals and the construction of the replicas we are able to complete the restoration in all phases. At the same time as our work, the growing interest in early instruments has meant a renaissance of small businesses that produce otherwise unobtainable materials, such as metal strings, felts, leathers and more.. That is why restoration is a fascinating research work that explores very different fields–but all of which are aimed at recapturing the voice of the instruments of the great masters of the past.

Restauro 1 scaled
Copia di carlodemeglio1 scaled

Carlo De Meglio – Napoli 1826 Op.207

 

Length: 230cm

Compass: FF – f

Pedals: Una corda, bassoon, damper lifting, moderator

Luigi Violi - Bologna XVIII sec.

Anonymus – Fortepiano – Italy 1820ca

 

Length: 240 cm * 120 cm

Compass: Fa0-Fa6

Pedals: 4 pedals

boisselotetfils scaled

Boisselot et fils – Marsille 1854

 

Length: 210 cm * 130 cm

Compass: Do0-La7

Pedals: 2 pedals

F. Hoxa Vienna 1839

F. Hoxa – Vienna 1839

 

Length: 235cm

Compass: CC – g

J. Bohm Vienna 1820ca

J. Bohm – Vienna 1820ca

 

Length: 220cm

Compass: Fa0-Fa6

 

Luigi Violi - Bologna XVIII sec.

Giacomo Ridolfi – Roma 1670ca.

 

Length: 200cm

Compass: C/E – c (lower and broken octave)

 

Anonimo clavicembalo XVIIIsec 1 scaled

Clavicembalo Anonimo – XVIII sec.

 

Length: 225cm

Compass: Do1-Fa5

J. Brodmann - Vienna 1805ca

J. Brodmann – Vienna 1805ca

 

Length: 224 cm

Compass: Fa0-Fa6

Clavicembalo Anonimo Napoletano XVIIsec

 

Clavicembalo Anonimo – XVII sec.

 

Length: 200 cm

Compass: Do1/Mi1-Do5

J. SCHANZ 1825

J. Schanz – Vienna 1825ca

 

Length: 237cm

Compass: Fa0-Fa6

M. Jakesch 1825ca Vienna

M. Jakesch – Vienna 1825ca

 

Length: 235cm

Compass: Do0-Fa6

Marble-harpsichord-signed-Michele-Antonio-Grandi-Galleria-Estense-in-Modena

Michele Antonio De Grandi – Carrara 1681

 

Length: 267cm

Compass: Do1-Do5

 

 

Pianino Pleyel 4175 Parigi 1835 scaled

Pianino Pleyel 4175 – Parigi 1834

 

Length: 113cm

Compass: Fa0-Fa6

Pleyel n 35876 Parigi 1863

Pleyel n. 35876 – Parigi 1863

 

Length: 220cm

Compass: La-1-La6

Luigi Violi - Bologna XVIII sec.

Luigi Violi – Bologna XVIII sec.

 

Length: 113 cm * 48 cm

Compass: C – g

Pedals: damper lifting, moderator. 

G. Haschka - Vienna 1820ca

G. Haschka –  Vienna 1820ca

 

Length: 140cm

Compass: Fa0-Fa6

Share This