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of early keyboard instruments
The professional experience
During my activity as a harpsichord maker and restorer the study of organology has always had a strong significance. Restoration, harpsichord-making and organological research interlace with each other to form completeness of my professional experience.
Since 1992 I work as a restorer and consultant at the Castello Sforzesco Musical Instrument Museum in Milan. I wrote the chapter on Keyboard Instruments for the museum catalogue (Museo degli strumenti musicali. Catalogo. Milano, Electa 1997).
In the last 25 years I have restored instruments of remarkable historical and organological importance. Among these many stand out for their rarity: a mid-16th century Neapolitan harpsichord, two Venetian harpsichords of the second half of the XVI century, a Venetian Arcispineta of the following century, a Johannes Ruckers double virginal, three Italian harpsichord by Nicolao De Quoco (1698 and 1699) and Elpidio Gregori (attr.), a French harpsichord by Pascal Taskin and a Tangentenflügel by F. Schmahl. I have also restored many anonymous harpsichords, spinets and virginals of the XVI, XVII and XVIII century; as well as historical pianofortes by Böhm, Bösendorfer, Clementi, Collard & Collard, Comeretto, Davison and Redpath (attr.), Garcka, Erard, Fritz, Fuchs, Longman & Broderip, Longman & Herron, Müller, Pleyel, Riva, Rolando, Rolfe, Romberg, Salvi, Scappa, Schantz, Schelli, Simon, Tomaschek, Trentin, van der Does, Walter, Wopaterni and several anonymous pianos.  | ||||
Last changed: June 2013
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