BIZZI Historical Keyboard Instruments
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BIZZI Historical Keyboard Instruments of China, Romania, Russia, Rep. S. This is the result of a Ruckers-type manufacturing system. Why BIZZI?
๐ฆ๐ผ๐บ๐ฒ๐๐ถ๐บ๐ฒ๐ ๐บ๐๐๐ถ๐ฐ ๐ฏ๐ฒ๐ด๐ถ๐ป๐ ๐๐ถ๐๐ต ๐ฎ ๐๐ถ๐๐ถ๐
A few weeks ago, we had the pleasure of welcoming Oytun Eren from Anadolu University to Villa Bossi.
What was originally meant to be a visit focused on a few historical keyboard instruments soon turned into something much broader.
Curiosity led us from clavichords to harpsichords, from fortepianos to historical pianos, exploring several centuries of keyboard history in a single day.
And yes, not every instrument was perfectly tuned that day. Some had not been prepared for a recording session, simply because we ended up exploring far more than originally planned.
But that was never really the point.
The point was discovery.
The exchange of ideas.
The questions that emerge when musicians, teachers and institutions share the same passion and curiosity.
What I always find remarkable is how often music creates connections that go far beyond geography.
A shared curiosity becomes a conversation.
A conversation becomes an exchange of experiences.
And sometimes an exchange of experiences becomes a friendship.
I feel fortunate that Villa Bossi can occasionally serve as a meeting place for musicians, teachers and institutions from different parts of the world.
Thank you, Oytun, for your visit, your enthusiasm and the inspiring discussions.
I look forward to seeing where this journey leads.
01/06/2026
๐ช๐ต๐ฒ๐ป ๐ฎ๐ป ๐ถ๐ป๐๐๐ฟ๐๐บ๐ฒ๐ป๐ ๐ฏ๐ฒ๐ด๐ถ๐ป๐ ๐๐ผ ๐ฏ๐น๐ผ๐ผ๐บ
There is a stage in every instrument where something changes.
Not because a new component is added.
Not because the decoration is completed.
But because the instrument finally begins to reveal what was already inside it.
This double manual harpsichord ๐ฎ๐ณ๐๐ฒ๐ฟ ๐๐ผ๐ฒ๐ฟ๐บ๐ฎ๐ป๐-๐ง๐ฎ๐๐ธ๐ถ๐ป, commissioned by an orchestra, is now in its final stages of voicing and finishing.
At this point, much of the work becomes listening.
A small refinement of a plectrum.
A subtle adjustment between the registers.
A tiny change that suddenly allows the sound to breathe more freely.
๐ฆ๐น๐ผ๐๐น๐, ๐๐ต๐ฒ ๐ถ๐ป๐๐๐ฟ๐๐บ๐ฒ๐ป๐ ๐ฏ๐ฒ๐ด๐ถ๐ป๐ ๐๐ผ ๐ณ๐น๐ผ๐๐ฒ๐ฟ.
Those are some of my favourite moments as a maker.
Because this is where months of work begin to transform into music.
17/05/2026
๐๐ฒ๐ต๐ถ๐ป๐ฑ ๐๐ต๐ฒ ๐ฐ๐๐ฟ๐๐ฎ๐ถ๐ป
Some moments from the preparation of one of our fortepianos at the Fondazione Teatro Coccia, for Rossiniโs LโItaliana in Algeri.
It is always a special feeling to see historical instruments return to the stage and become part of a living production.
Before the audience enters the theatre, there is a great deal of invisible work:
preparation,
acoustics,
positioning,
listening,
and collaboration between musicians, technicians, and theatre staff.
And this is part of what makes these instruments so fascinating:
they still belong to the world of performance.
A heartfelt thank you to Fondazione Teatro Coccia for this beautiful collaboration.
16/05/2026
One of the most beautiful parts of this work is witnessing young musicians discovering these instruments for the first time.
This weekend at Villa Bossi, during the harpsichord masterclass with Malta Piano Academy, seeing such young students approach historical keyboards with genuine curiosity and sensitivity has been deeply moving.
Luke, despite his young age, already has an incredibly natural musical sensitivity. Watching him listen, explore and react emotionally to these instruments reminded me why preserving this world truly matters.
Music history only remains alive when it is passed from one generation to the next. โค๏ธ
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