BIZZI Historical Keyboard Instruments

Name: BIZZI Historical Keyboard Instruments
Address: Via Carlo Bossi 33, Varese, 21020, IT
Telephone: +393480946781

Casa
Italia
Varese
BIZZI Historical Keyboard Instruments

BIZZI Historical Keyboard Instruments of China, Romania, Russia, Rep. S. This is the result of a Ruckers-type manufacturing system. Why BIZZI?

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BIZZI - Historical Keyboard Instruments in Italy and Worldwide

BIZZI is a manufacturer of historical keyboard instruments operating in 48 Countries:
Albania, Austria, Australia, Azerbaijan, Belgium, Byelorussia, Canada, Chile, Croatia, Columbia, Denmark, France, Germany, Greece, Holland, Hungary, Indonesia, Iran, Ireland, Israel, Italy, Japan, Lettonia, Lithuania, Luxembourg, Mexico, Monaco, New

Zealand, Norway, Paraguay, Peru, Poland, Portugal, Rep. Marino, Serbia, Spain, Sweden, Switzerland, Syngapore, Ukraine, United Kingdom, U.S.A, Vietnam. Our company, founded in 1975, has specialized from the very beginning in the production and restoration of historical musical instruments. After many years of rich experiences and considerable investments BIZZI became leader in this market. BIZZI is a modern company based on the same manufacturing principles of the greatest harpsichord makers of the past, and particularly the Ruckers dynasty, which is a unique example of high quality combined with great efficiency and incredible productivity. From 2008 BIZZI has settled in the prestigious historical Villa Bossi, and has founded the ACCADEMIA EUROPEA VILLA BOSSI (www.accademiavillabossi.com) where some of the most important names in the world of historical music teach. Among our professors are: Pierre Hantai, Christine Schornsheim, Ottavio Dantone, Bart van Oort, Wolfgang Brunner, Alexei Lubimov, William Grant Naboré, Lorenzo Ghielmi, Sigiswald Kuijken, Amandine Beyer, Stefano Montanari, Christophe Coin, Vittorio Ghielmi, Giuseppe Lo Sardo, Lorenzo Coppola, Alfredo Bernardini, Marcello Gatti. Construction principles
Italy is a Country with extraordinary traditions in Art and Handicraft represented today by thousands of small firms highly specialised in their own fields. From among this intriguing milieu we have selected more than 30 handicraft firms and in many years of exciting work together, they have understood all our technical and artistic needs. Therefore, from sand casting of bronze to hand carved legs or all various styles of decoration, we have managed to obtain extraordinary quality from people who are still handing down traditional techniques from one generation to another. By working according to these principles we can always acquire materials with the best natural seasoning and the highest possible quality workmanship. Of course, the very manufacture of the harpsichord is always done in our workshop where we follow the principle of expertise: everyone of our harpsichord-makers works almost exclusively with the type of instrument he knows best. This principle of expertise enhances the highest professional abilities of each person, representing also one of the pillars on which our future development prospects are based. Quality / Price ratio
The ratio of quality to price undoubtedly accounts for our achievements and explains in part why more and more customers are choosing our instruments. Indeed, we can offer a quality suitable for the most demanding professionals at prices considerably less than those of the most qualified harpsichord makers. To all of those who are suspicious of prices which are apparently “too low”, we would ask to investigate the matter in detail. For example, by making a simple visit to us and to other makers, in order to understand what the manufacture of a harpsichord involves and thus discover the various advantages a firm like ours can offer in terms of quality, good prices and delivery times. Because Bizzi has re-introduced in harpsichord handcraft manufacturing the same historical construction principles which were used by the great masters of the past, and especially by the Ruckers family which, in the XVII century, was making more than one harpsichord per week
For the important contribution to our studies and researches given by the great musicians of our Accademia Europea Villa Bossi
Because this system combines high craftsmanship and modern management
For the style and good taste of many Italian artisans of great tradition that we have formed in many years of patient work
Because more and more often good harpsichordists and important institutions decide to purchase BIZZI instruments or use them in concert
For the best quality/price ratio in this market. For the good delivery times, the technical service and for all the attentions we are proud to offer to our clientelle. Because the size of our craftsmen enterprise allows us to do the necessary investments for studies and research on sound and structure stability and all the other aspects of musical craftsmanship
Because we are the only maker who owns the technology for producing its own strings, the most sensitive part, the heart of the harpsichord and the fortepiano
Because our harpsichords are the result of a high technical and management background, combined with an interesting artistic career and a deep experience in restoration of museums. And, why not, because our customers very often become also good friends...

12/05/2026

𝗧𝗵𝗲 𝗳𝗼𝗿𝘁𝗲𝗽𝗶𝗮𝗻𝗼𝘀 𝗼𝗳 𝗝𝗼𝗵𝗮𝗻𝗻 𝗙𝗿𝗶𝘁𝘇 — 𝗯𝗲𝘁𝘄𝗲𝗲𝗻 𝗕𝗲𝗲𝘁𝗵𝗼𝘃𝗲𝗻 𝗮𝗻𝗱 𝗩𝗲𝗿𝗱𝗶

Every now and then, instruments arrive in the workshop that force you to slow down.

Not because they are necessarily the most spectacular at first glance, but because you immediately feel that they carry an enormous amount of history inside them.

These two Viennese fortepianos by Johann Fritz are exactly like that.

One is probably around 1815, six octaves.
The other likely around 1825–30, already extended to six and a half octaves.

Both veneered in walnut.
Both still full of personality.

The later one still preserves all of its original bronze decorations, which is honestly quite remarkable. At the same time, it also suffered heavily from a previous restoration, especially on the soundboard, and part of it will unfortunately need to be replaced.

And this is the part people often do not see when they imagine “restoration”.

𝗜𝘁 𝗶𝘀 𝗻𝗲𝘃𝗲𝗿 𝘀𝗶𝗺𝗽𝗹𝘆 𝗰𝗹𝗲𝗮𝗻𝗶𝗻𝗴 𝗼𝗿 𝗺𝗮𝗸𝗶𝗻𝗴 𝘀𝗼𝗺𝗲𝘁𝗵𝗶𝗻𝗴 𝗹𝗼𝗼𝗸 𝗯𝗲𝗮𝘂𝘁𝗶𝗳𝘂𝗹 𝗮𝗴𝗮𝗶𝗻.

Very often it is a continuous balance between preservation, compromise, historical responsibility and understanding what can still be saved without destroying the identity of the instrument itself.

What fascinates me about Fritz is that he belongs to a very particular moment in Vienna.

You still feel something close to the intimacy of the late classical world, but at the same time you already sense the piano moving toward Schubert, toward early Romanticism, toward a broader and more singing sound world.

One Fritz was connected to Barbara Keglevicz, one of Beethoven’s pupils.
Another remained in Verdi’s environment at Sant’Agata.

So even though Fritz is less famous than names like Walter or Graf, these are not secondary instruments at all.

And when you stand in front of them in silence, before beginning any work, you realise something important:

𝗧𝗵𝗲𝘆 𝗮𝗿𝗲 𝗻𝗼𝘁 𝗼𝗻𝗹𝘆 𝗱𝗮𝗺𝗮𝗴𝗲𝗱 𝗼𝗯𝗷𝗲𝗰𝘁𝘀 𝘄𝗮𝗶𝘁𝗶𝗻𝗴 𝘁𝗼 𝗯𝗲 𝗿𝗲𝗽𝗮𝗶𝗿𝗲𝗱.

They are musical voices that somehow managed to survive for more than two centuries and are now asking what their next life will become.

08/05/2026

𝗬𝗼𝘂𝗻𝗴 𝗺𝘂𝘀𝗶𝗰𝗶𝗮𝗻𝘀, 𝗵𝗶𝘀𝘁𝗼𝗿𝗶𝗰𝗮𝗹 𝗶𝗻𝘀𝘁𝗿𝘂𝗺𝗲𝗻𝘁𝘀, 𝗮𝗻𝗱 𝗮 𝗱𝗶𝗳𝗳𝗲𝗿𝗲𝗻𝘁 𝘄𝗮𝘆 𝗼𝗳 𝗹𝗶𝘀𝘁𝗲𝗻𝗶𝗻𝗴

A few days ago we had the pleasure of welcoming a young violinist to Villa Bossi to prepare and record repertoire together with fortepiano.

Moments like these always remind us of something very important:

historical instruments are not only about preserving the past.

They are also about helping musicians discover new ways of listening, reacting, and making music together.

Especially in chamber music, these instruments create a very different balance and interaction between performers.

And seeing young musicians explore this world with curiosity and sensitivity is always deeply encouraging.

30/04/2026

𝗔 𝗱𝗶𝗮𝗹𝗼𝗴𝘂𝗲 𝗯𝗲𝘁𝘄𝗲𝗲𝗻 𝗺𝘂𝘀𝗶𝗰𝗶𝗮𝗻 𝗮𝗻𝗱 𝗶𝗻𝘀𝘁𝗿𝘂𝗺𝗲𝗻𝘁

In this short excerpt, 𝗥𝘂𝗴𝗴𝗲𝗿𝗼 𝗣𝗶𝗹𝗹𝗮 performs 𝗦𝘁𝗼𝗿𝗮𝗰𝗲 on a harpsichord built 𝗮𝗳𝘁𝗲𝗿 𝗖𝗮𝗿𝗹𝗼 𝗚𝗿𝗶𝗺𝗮𝗹𝗱𝗶, 𝟭𝟲𝟵𝟳.

Some instruments produce sound.

Others respond.

The difference is not in volume,
not in brightness.

It lies in how the instrument reacts to the touch,
how it follows the gesture of the musician.

When this happens, you are no longer just playing.

You are entering a relationship.

And the music changes completely.

A special thank you to 𝗥𝘂𝗴𝗴𝗲𝗿𝗼 𝗣𝗶𝗹𝗹𝗮 for bringing out the voice of this instrument with such sensitivity and depth.

What do you listen for in a harpsichord?

29/04/2026

𝗔 𝗡𝗲𝘄 𝗜𝘁𝗮𝗹𝗶𝗮𝗻 𝗛𝗮𝗿𝗽𝘀𝗶𝗰𝗵𝗼𝗿𝗱 𝗧𝗮𝗸𝗶𝗻𝗴 𝗦𝗵𝗮𝗽𝗲

I would like to share a few images from the making of a new instrument 𝗮𝗳𝘁𝗲𝗿 𝗚.𝗕. 𝗚𝗶𝘂𝘀𝘁𝗶, 𝗟𝘂𝗰𝗰𝗮, 𝟭𝟲𝟴𝟭, now in the ground preparation stage.

This is one of those moments I always find particularly beautiful, when the instrument is still quiet, not yet finished, and yet 𝗶𝘁𝘀 𝗰𝗵𝗮𝗿𝗮𝗰𝘁𝗲𝗿 𝗶𝘀 𝗮𝗹𝗿𝗲𝗮𝗱𝘆 𝗯𝗲𝗴𝗶𝗻𝗻𝗶𝗻𝗴 𝘁𝗼 𝗲𝗺𝗲𝗿𝗴𝗲.

Although compact in form, this kind of Italian harpsichord can offer 𝗿𝗲𝗺𝗮𝗿𝗸𝗮𝗯𝗹𝗲 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝗶𝗼𝗻, 𝗿𝗲𝘀𝗼𝗻𝗮𝗻𝗰𝗲, 𝗮𝗻𝗱 𝗰𝗹𝗮𝗿𝗶𝘁𝘆. It can support ensemble playing and basso continuo beautifully, but it also belongs fully to the solo Italian keyboard tradition, the world of Valente, Frescobaldi and Storace.

That dual nature has always fascinated me.

For an ensemble, it can be 𝗮 𝗺𝘂𝘀𝗶𝗰𝗮𝗹 𝗽𝗮𝗿𝘁𝗻𝗲𝗿.
For a student, 𝗮 𝘄𝗮𝘆 𝗶𝗻𝘁𝗼 𝗵𝗶𝘀𝘁𝗼𝗿𝗶𝗰𝗮𝗹 𝗸𝗲𝘆𝗯𝗼𝗮𝗿𝗱𝘀.
For an amateur, 𝗮 𝗱𝗶𝘀𝗰𝗼𝘃𝗲𝗿𝘆.
For a school, perhaps even 𝗮 𝗱𝗼𝗼𝗿 𝗶𝗻𝘁𝗼 𝗻𝗲𝘄 𝗿𝗲𝗽𝗲𝗿𝘁𝗼𝗶𝗿𝗲.

And for a maker, this stage is where much of the instrument’s voice quietly begins.

Happy to share this work in progress.

𝗪𝗵𝗮𝘁 𝗱𝗿𝗮𝘄𝘀 𝘆𝗼𝘂 𝗺𝗼𝘀𝘁 𝘁𝗼 𝗜𝘁𝗮𝗹𝗶𝗮𝗻 𝗵𝗮𝗿𝗽𝘀𝗶𝗰𝗵𝗼𝗿𝗱𝘀, 𝘁𝗵𝗲𝗶𝗿 𝘀𝗼𝘂𝗻𝗱, 𝘁𝗵𝗲𝗶𝗿 𝘁𝗼𝘂𝗰𝗵, 𝗼𝗿 𝘁𝗵𝗲𝗶𝗿 𝗿𝗲𝗽𝗲𝗿𝘁𝗼𝗶𝗿𝗲?

22/04/2026

𝐈𝐧𝐬𝐭𝐫𝐮𝐦𝐞𝐧𝐭 𝐒𝐭𝐨𝐫𝐲𝐭𝐞𝐥𝐥𝐢𝐧𝐠 | 𝐂𝐚𝐫𝐥𝐨 𝐆𝐫𝐢𝐦𝐚𝐥𝐝𝐢 𝟏𝟔𝟗𝟕

I’d like to share a short excerpt from a recent recording we made.

It features Ruggero Pilla playing a Balletto by Bernardo Storace on a harpsichord built after Carlo Grimaldi (1697).

What I have always found fascinating about these instruments is how much of their character comes from details that are not immediately visible.

In this case, for example, the 𝐝𝐢𝐚𝐠𝐨𝐧𝐚𝐥 𝐨𝐫𝐢𝐞𝐧𝐭𝐚𝐭𝐢𝐨𝐧 𝐨𝐟 𝐭𝐡𝐞 𝐬𝐨𝐮𝐧𝐝𝐛𝐨𝐚𝐫𝐝 𝐠𝐫𝐚𝐢𝐧 and the 𝐬𝐥𝐢𝐠𝐡𝐭𝐥𝐲 𝐚𝐧𝐠𝐥𝐞𝐝 𝐰𝐫𝐞𝐬𝐭 𝐩𝐥𝐚𝐧𝐤 both play a role in shaping the way the instrument responds.

They do not make the instrument louder, nor do they change it in an obvious way.
But they influence how the sound feels under the fingers and how it projects in the room.

In the lower register, this also affects where the string is plucked, contributing to a tone many players perceive as a little more 𝐫𝐨𝐮𝐧𝐝 and 𝐟𝐮𝐥𝐥, while still keeping clarity.

These are subtle things, and probably each player experiences them differently. But for me, they are part of what makes working on these instruments so endlessly interesting.

My thanks to Ruggero for his sensitivity and musicianship in bringing this instrument to life.

If you would like to watch the full video you find it here:

https://tinyurl.com/3htt7au7

I would be very interested to know:

What qualities do you listen for in a harpsichord sound?

03/04/2026

𝗔𝘁 𝗮 𝗰𝗲𝗿𝘁𝗮𝗶𝗻 𝗽𝗼𝗶𝗻𝘁, 𝗶𝘁’𝘀 𝗻𝗼 𝗹𝗼𝗻𝗴𝗲𝗿 𝗮𝗯𝗼𝘂𝘁 𝗹𝗲𝘃𝗲𝗹.
𝗜𝘁’𝘀 𝗮𝗯𝗼𝘂𝘁 𝘁𝗿𝘂𝘁𝗵.

Some time ago I built this harpsichord for a very special person, and I would like to share her story.

An 86-year-old woman.

She has been a pianist all her life. She loves Baroque music and has been playing it for years, also together with two professional violinists.

But at a certain point she felt something very simple, and very strong:

that this music… wanted to be played on a different instrument.

Not better.
Not more.

Just… more right.

And she decided to change.

At 86.

That stayed with me.

Because in this work I often see this moment.

When playing well is no longer enough.
When you start looking for something that is closer to what you really hear inside.

This harpsichord comes from that place.

It is a small instrument, but with a very clear presence. It works beautifully in chamber music, it supports, accompanies, and speaks with other instruments.

At the same time, it remains intimate, close to the hand, able to follow even the smallest gesture.

In the end, this is always the point.

Not the instrument itself.
But what it allows you to do.

Or maybe better:

how much it allows you to be honest with the music.

If you have ever experienced that moment, I would be really curious to hear what changed for you.

#古楽 #チェンバロ #하프시코드

24/03/2026

𝐄𝐯𝐞𝐫𝐲 𝐝𝐞𝐭𝐚𝐢𝐥 𝐦𝐚𝐭𝐭𝐞𝐫𝐬.

From time to time I like to focus on details that usually go unnoticed.

These hinges and small metal parts are cast in sand, following historical methods.
It is a slower process, and certainly not the easiest way to do it.

When someone chooses an instrument like this, it is not just about sound.
For me, it is always an investment.
An investment in something that has value, that will last, and that will stay with you over time.

The quality of an instrument is never defined by a single element.
It is the result of many details, and of different crafts coming together.

This is one of them.

And this is why I care so much about even the smallest parts.

#古楽 #チェンバロ #하프시코드 #바로크음악

20/03/2026

𝐖𝐡𝐞𝐧 𝐚𝐧 𝐢𝐧𝐬𝐭𝐫𝐮𝐦𝐞𝐧𝐭 𝐦𝐞𝐞𝐭𝐬 𝐭𝐡𝐞 𝐦𝐮𝐬𝐢𝐜.

I’ve just finished this Italian harpsichord, which will soon travel to China.

It was built for a musician who is particularly drawn to the Italian repertoire,
and was looking for an instrument that could support it in a more historically grounded way.

Its sound is clear and immediate,
and the touch is light and responsive.

This very instrument, inspired by an anonymous Italian model and shaped by a distinctive Italian character,
has been chosen by ensembles and professional players for its directness and articulation.

For this one, we chose a decoration inspired by blue Chinese porcelain,
as a small reference to where it will live.

What matters most to me, though, is always the same:
how the instrument feels under the hands.

Working closely with musicians, I build instruments that allow the music to emerge naturally,
through precision, refinement, and careful attention to detail.

At a certain point,
the instrument is no longer just something you play.
It becomes something through which both you and the music can speak.

Always happy to hear impressions from fellow musicians.

13/03/2026

𝐀 𝐒𝐦𝐚𝐥𝐥 𝐉𝐞𝐰𝐞𝐥 𝐨𝐟 𝐅𝐫𝐞𝐧𝐜𝐡 𝐌𝐮𝐬𝐢𝐜𝐚𝐥 𝐂𝐮𝐥𝐭𝐮𝐫𝐞

Among historical keyboard instruments, the spinet occupies a very special place.

It is a more intimate instrument than a large harpsichord, yet it carries with it an entire musical world.

In the eighteenth century, instruments like this were often found in private houses and salons, where music was part of daily life. They allowed musicians to explore a wide repertoire in a setting that was closer, more personal, almost domestic.

What I particularly love about the French spinet is its voice.

𝐓𝐡𝐞 𝐦𝐢𝐝𝐝𝐥𝐞 𝐚𝐧𝐝 𝐮𝐩𝐩𝐞𝐫 𝐫𝐞𝐠𝐢𝐬𝐭𝐞𝐫𝐬 𝐚𝐫𝐞 𝐜𝐥𝐞𝐚𝐫 𝐚𝐧𝐝 𝐜𝐚𝐧𝐭𝐚𝐛𝐢𝐥𝐞,
𝐰𝐡𝐢𝐥𝐞 𝐭𝐡𝐞 𝐛𝐚𝐬𝐬 𝐛𝐞𝐜𝐨𝐦𝐞𝐬 𝐰𝐚𝐫𝐦𝐞𝐫 𝐚𝐧𝐝 𝐫𝐨𝐮𝐧𝐝𝐞𝐫 𝐚𝐬 𝐭𝐡𝐞 𝐩𝐥𝐮𝐜𝐤𝐢𝐧𝐠 𝐩𝐨𝐢𝐧𝐭 𝐦𝐨𝐯𝐞𝐬 𝐟𝐮𝐫𝐭𝐡𝐞𝐫 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝐧𝐮𝐭.

This instrument is inspired by a spinet built in Paris in 1753 by Jean-Claude Goujon, one of the remarkable builders of the French tradition.

As a second-generation builder, continuing this tradition is something I feel deeply connected to. Building instruments like this means studying the originals carefully, understanding their proportions and their sound, and trying to bring that musical character back into the hands of musicians today.

𝐀𝐧 𝐢𝐧𝐬𝐭𝐫𝐮𝐦𝐞𝐧𝐭 𝐦𝐞𝐚𝐧𝐭 𝐭𝐨 𝐛𝐞 𝐩𝐥𝐚𝐲𝐞𝐝, 𝐭𝐨 𝐥𝐢𝐯𝐞 𝐰𝐢𝐭𝐡, 𝐚𝐧𝐝 𝐭𝐨 𝐦𝐚𝐤𝐞 𝐦𝐮𝐬𝐢𝐜.

Which repertoire do you particularly enjoy on a spinet?

12/03/2026

𝗪𝗵𝗲𝗻 𝗺𝘂𝘀𝗶𝗰 𝗰𝗿𝗲𝗮𝘁𝗲𝘀 𝗰𝗼𝗺𝗺𝘂𝗻𝗶𝘁𝘆

It was a beautiful evening of music in Chivasso, organized by the association Contatto, with a wonderful and attentive audience filling the hall.

The programme featured music by Bellini, Clementi, Colbran, Rossini, Carulli and Meyer, performed by three excellent musicians:

𝗘𝗹𝗶𝘀𝗮𝗯𝗲𝘁𝗵 𝗛𝗲𝗿𝘁𝘇𝗯𝗲𝗿𝗴, soprano
𝗔𝗹𝗲𝘀𝘀𝗮𝗻𝗱𝗿𝗼 𝗚𝘂𝗮𝗿𝗻𝗲𝗿𝗶, guitar
𝗦𝗶𝗺𝗼𝗻𝗲𝘁𝘁𝗮 𝗛𝗲𝗴𝗲𝗿, fortepiano

Simonetta performed on a fortepiano inspired by an Anton Walter instrument, built in my workshop.

Seeing also many young people in the audience was perhaps the most beautiful sign of the evening: when music is offered with quality and passion, it always finds its audience.

My sincere thanks to the musicians and to the association Contatto for such a warm and memorable concert.

06/03/2026

One of the things I love most about the French harpsichord school is its sound.

It is difficult to describe in words, but musicians usually recognise it immediately: a rich, powerful bass combined with a bright, almost silvery treble.

In this short excerpt, harpsichordist Jane Chapman performs a Courante by Louis Couperin on a French model instrument after the great Parisian makers Goermans and Taskin.

Moments like this remind me why building these instruments is so meaningful for me. When a musician sits at the keyboard and that sound fills the room, centuries of musical tradition suddenly feel alive again.

If you are curious about these instruments or about how they are built, feel free to write to me. I am always happy to talk about them.

Indirizzo

Via Carlo Bossi 33
Varese
21020

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Telefono

+393480946781

Sito Web

http://www.bizzi.com/

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