BIZZI Historical Keyboard Instruments

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?

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...

𝗧𝗵𝗲 𝗺𝗼𝗺𝗲𝗻𝘁𝘀 𝗻𝗼𝗯𝗼𝗱𝘆 𝘀𝗲𝗲𝘀One of the things I love most about building instruments is that there is a long period when they...
11/06/2026

𝗧𝗵𝗲 𝗺𝗼𝗺𝗲𝗻𝘁𝘀 𝗻𝗼𝗯𝗼𝗱𝘆 𝘀𝗲𝗲𝘀

One of the things I love most about building instruments is that there is a long period when they are neither pieces of furniture nor musical instruments.

They are becoming.

A few days ago I was working on the gilded acanthus leaves of the stand.

At the same time, the keyboard was still lying on the bench, covered in dust and waiting for its next stage of work.

These are not the photographs that usually appear in concert programmes.

But they are some of my favourite moments.

Because little by little, detail after detail, an instrument begins to reveal its character.

This Giusti 1681 still has work ahead of it, but every day it moves one step closer to music.

05/06/2026

𝗦𝗼𝗺𝗲𝘁𝗶𝗺𝗲𝘀 𝗺𝘂𝘀𝗶𝗰 𝗯𝗲𝗴𝗶𝗻𝘀 𝘄𝗶𝘁𝗵 𝗮 𝘃𝗶𝘀𝗶𝘁

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.

𝗪𝗵𝗲𝗻 𝗮𝗻 𝗶𝗻𝘀𝘁𝗿𝘂𝗺𝗲𝗻𝘁 𝗯𝗲𝗴𝗶𝗻𝘀 𝘁𝗼 𝗯𝗹𝗼𝗼𝗺There is a stage in every instrument where something changes.Not because a new compone...
01/06/2026

𝗪𝗵𝗲𝗻 𝗮𝗻 𝗶𝗻𝘀𝘁𝗿𝘂𝗺𝗲𝗻𝘁 𝗯𝗲𝗴𝗶𝗻𝘀 𝘁𝗼 𝗯𝗹𝗼𝗼𝗺

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 𝗮𝗳𝘁𝗲𝗿 𝗚𝗼𝗲𝗿𝗺𝗮𝗻𝘀-𝗧𝗮𝘀𝗸𝗶𝗻, 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.

𝗦𝗹𝗼𝘄𝗹𝘆, 𝘁𝗵𝗲 𝗶𝗻𝘀𝘁𝗿𝘂𝗺𝗲𝗻𝘁 𝗯𝗲𝗴𝗶𝗻𝘀 𝘁𝗼 𝗳𝗹𝗼𝘄𝗲𝗿.

Those are some of my favourite moments as a maker.

Because this is where months of work begin to transform into music.

𝗧𝗵𝗲 𝗺𝗼𝗺𝗲𝗻𝘁 𝘄𝗼𝗼𝗱 𝗯𝗲𝗴𝗶𝗻𝘀 𝘁𝗼 𝗯𝗲𝗰𝗼𝗺𝗲 𝗺𝘂𝘀𝗶𝗰.One of the things I love most about historical instruments is that they reveal th...
29/05/2026

𝗧𝗵𝗲 𝗺𝗼𝗺𝗲𝗻𝘁 𝘄𝗼𝗼𝗱 𝗯𝗲𝗴𝗶𝗻𝘀 𝘁𝗼 𝗯𝗲𝗰𝗼𝗺𝗲 𝗺𝘂𝘀𝗶𝗰.

One of the things I love most about historical instruments is that they reveal their character long before they produce a sound.

These hand-painted Italian volutes are currently being completed on a harpsichord after Giovan Battista Giusti, Lucca, 1681.

Every detail is painted by hand.

Every curve belongs to a decorative tradition that musicians and patrons admired centuries ago.

Sometimes we think of instruments only as objects that produce music.

Historically, they were much more than that.

They were part of daily life.

Part of a room.

Part of a family’s story.

And perhaps that is still true today

What detail catches your eye first?









25/05/2026

The wonderful Piano by Luke Mifsud….. 10 years old and already a wonderful musician

𝗕𝗲𝗵𝗶𝗻𝗱 𝘁𝗵𝗲 𝗰𝘂𝗿𝘁𝗮𝗶𝗻Some moments from the preparation of one of our fortepianos at the Fondazione Teatro Coccia, for Rossi...
17/05/2026

𝗕𝗲𝗵𝗶𝗻𝗱 𝘁𝗵𝗲 𝗰𝘂𝗿𝘁𝗮𝗶𝗻

Some moments from the preparation of one of our fortepianos at the Fondazione Teatro Coccia, for Rossini’s L’Italiana 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.

One of the most beautiful parts of this work is witnessing young musicians discovering these instruments for the first t...
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. ❤️

𝗧𝗵𝗲 𝗳𝗼𝗿𝘁𝗲𝗽𝗶𝗮𝗻𝗼𝘀 𝗼𝗳 𝗝𝗼𝗵𝗮𝗻𝗻 𝗙𝗿𝗶𝘁𝘇 — 𝗯𝗲𝘁𝘄𝗲𝗲𝗻 𝗕𝗲𝗲𝘁𝗵𝗼𝘃𝗲𝗻 𝗮𝗻𝗱 𝗩𝗲𝗿𝗱𝗶Every now and then, instruments arrive in the workshop that...
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.

𝗬𝗼𝘂𝗻𝗴 𝗺𝘂𝘀𝗶𝗰𝗶𝗮𝗻𝘀, 𝗵𝗶𝘀𝘁𝗼𝗿𝗶𝗰𝗮𝗹 𝗶𝗻𝘀𝘁𝗿𝘂𝗺𝗲𝗻𝘁𝘀, 𝗮𝗻𝗱 𝗮 𝗱𝗶𝗳𝗳𝗲𝗿𝗲𝗻𝘁 𝘄𝗮𝘆 𝗼𝗳 𝗹𝗶𝘀𝘁𝗲𝗻𝗶𝗻𝗴A few days ago we had the pleasure of welcoming...
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?

Indirizzo

Via Carlo Bossi 33
Varese
21020

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