ABOUT NEW....
A good work always comes after a good chat! In new organs construction, the preliminary study of the characteristics every instrument has to have plays a central role; it has to be pre-defined and clear during the project phase which is realized through CAD software.After an accurate planning, the choice of materials shall be made according to their adaptability to the construction of each elements, identified on the basis of the functions they have to carry out for the instrument.
A special care is adopted for the timber: essences are chosen according to their mechanic and aesthetic characteristics, paying particular attention to the board sections to be used (radial, tangential) and their correct seasoning.
The woodworking adopts traditional techniques of carpentry and cabinet-making, ensuring high quality of the manufactured product and characteristics of beauty and time durability. More cares are reserved to functional elements (windchests, action, bellows) and all parts in direct contact with the performer (manuals and pedals, stops' action) because they are fundamental for the success of a superior quality instrument.
It is a priority to conceive and realize easily maintainable, solid, pleasant and comfortable instruments to play, it is necessary to rationalize the components and their working
The same attention paid to the conception and construction of the functional parts of the organ machine is paid to the sound and musical aspect of the instrument. Every stop is conceived and developed through a compared study of parameters and measures obtained both by historical examples and personal researches. I believe that a refined voicing is essential to create well-harmonized sonorities with a specific individual character, working both in the tradition and the conception of new sound.
about restoring
My approach to the restoring disciple is historiographical: the initial research conducted on the organ school of manufactured product in general and on the author of the instrument to be restored in particular, is absolutely necessary in order to do a work based on scientific criteria. I am convinced that every present or past builder works according to specific conviction and methodologies; it is fundamental trying to get as closer as possible to this modus operandi with the purpose of empathize the manufactured product you have the responsibility to operate on.
The use of techniques and highly compatible materials is the most suitable way to reach this purpose.Obviously, it is unavoidable to ensure a perfect functionality and efficiency of historical instruments which are sometimes made imperfectly. This is maybe the biggest challenge we have to face in the philological restoration of historical instruments.