Commissions & Projects

Every enquiry represents the starting point of a project. Whether it concerns the making of a new instrument, the restoration and conservation of an existing one, maintenance work or a consultation, the first step is to understand the requirements and the information available. The nature of the enquiry determines the approach to be taken, the assessments required and the way the work will be carried out.

INSTRUMENT MAKING

Commissioning a new instrument.

The making of a commissioned instrument takes shape through discussion, bringing together the client's musical requirements and the possibilities offered by the study of historical instruments.

Initial contact.

The first step is to discuss the musical requirements and the kind of instrument that might best meet them. The historical period, type of instrument, repertoire and intended use are useful starting points for defining the project. The musician's previous experience can also help guide the decisions. It is not necessary to have all the answers beforehand. The initial discussion also provides an opportunity to clarify the requirements together and identify the questions from which to begin.

From enquiry to project.

The project develops through the relationship between the study of historical instruments and the client's musical requirements. Throughout my career, I have directly studied original instruments from different periods and of different types. This research provides the basis for developing new instrument models, taking into account the construction characteristics and proportions of historical instruments. The musical requirements then guide the design decisions. The tuning, pitch standard and physical properties of the strings contribute to determining the optimised vibrating string length. Starting from this measurement, I develop the instrument's proportions through comparison with the historical models I have studied. The project thus takes shape by relating the intended use to historical knowledge and construction decisions. Making and listening then allow these decisions to be tested.

Timescales and costs.

The time required to complete an instrument depends on the project and the workshop's schedule. When the commission is confirmed, an indicative waiting time is provided. A more reliable estimate of the delivery date can be given once construction actually begins. Making a historically informed instrument also involves the time required for study, preparation and evaluation throughout the work. Before the commission is confirmed, the project, the instrument's specifications and the financial terms are agreed upon.

Payment is divided into three stages:

30% upon confirmation of the commission;
30% when construction begins;
40% before the instrument is collected or shipped.

Any requests to modify the agreed project are assessed according to the stage of work reached. Where still feasible, substantial modifications may require adjustments to the timescale and cost, to be agreed upon in advance. An indicative price list for new instrument commissions is available for download [here].

During construction.

Once the project has been defined, construction follows the agreed plan. Certain decisions may nevertheless require further consideration as the work progresses. Observation, study, construction and listening are part of the same process and may lead to particular choices being examined or explored further. The project is therefore not merely an initial definition, but a process that is continually tested through the work itself. The result is an instrument made as an interpretation of a historically informed sound, consistent with the project and the available knowledge.

Case and shipping.

The instrument case is not included in the construction price. Where necessary, I can provide drawings and technical specifications to the company chosen by the client to make the case. Shipping costs and insurance coverage during transport are the responsibility of the client. If warranty work requires the instrument to be returned to the workshop, the costs of transport both to the workshop and back to the client, including insurance coverage for both journeys, are the responsibility of the client.

Warranty.

For sales to privates, the statutory two-year guarantee of conformity applies in accordance with current legislation. At the time of delivery, instructions are provided regarding the storage, use, environmental conditions and maintenance of the instrument, which are important for its proper preservation over time.

Before contacting me.

If you are considering commissioning an instrument, you can write to me with a brief description of what you are looking for. It may be useful to indicate the type of instrument, the historical period that interests you, the repertoire and its intended use. From this information, we can begin to explore the project together. Commissioning an instrument is not simply placing an order. It is the beginning of a shared project.

Eight-course lute after Magno Tiefenbrucker, Venice, 1612.

The original instrument, preserved at the Museo internazionale e biblioteca della musica, Bologna (Inv. 1753), presents particularly interesting and versatile soundbox proportions. In this interpretation, particular attention was given to acoustic optimisation in relation to the physical properties of the string material and the intended musical application. The vibrating string length of 65 cm was determined by calculating the working limit of monofilament nylon strings, defined as a frequency one semitone below their breaking limit, in relation to the required tuning, with the highest course tuned to g′ at A = 440 Hz. This approach establishes a relationship between the mechanical properties of the selected string material, its working limits and the intended frequencies, allowing the vibrating string length to be optimised for the chosen musical configuration. String length: 65 cm. Tuning: g′ at A = 440 Hz. Nylon strings.

RESTORATION & CONSERVATION

Entrusting an instrument for treatment.

A restoration or conservation treatment begins with the direct examination of the instrument, documentation and an assessment of its condition. Before defining a treatment, it is important to understand the instrument, its history where known, the materials and techniques present, previous interventions and the reasons for requesting treatment.

Initial contact.

The first step is to become familiar with the instrument. It is useful to provide any available information about its provenance and history, together with photographs and a description of any known problems. Photographs and information provided remotely allow for an initial assessment, but cannot replace direct examination of the instrument. It is not necessary to have all the answers beforehand. The initial contact also helps us identify the questions that need to be considered.

From enquiry to treatment proposal.

A final quotation can only be prepared after I have examined the instrument directly.

The proposed treatment is then defined in relation to the object's history and characteristics, its materials and techniques, previous interventions, its condition and the agreed objectives. An assessment based solely on photographs or information provided remotely can only be indicative and does not constitute a final quotation.

Preliminary assessment and quotation.

Preparing a quotation for restoration or conservation work requires a direct examination of the instrument, which may include observation, study, photographic documentation and evaluation of possible interventions. A fixed fee of €160 applies to this preliminary assessment. If the proposed work is subsequently commissioned, the amount paid will be deducted in full from the agreed cost of the intervention.

Timescales and costs.

Once the treatment has been defined, the proposed work, indicative timescale and financial terms are agreed upon.

A deposit of 30% of the agreed amount is required to confirm the commission.
A second payment of 30% is required when the treatment begins.
The remaining 40% is payable before the instrument is returned to the client.

Unforeseen circumstances during restoration.

Unlike the making of a new instrument, restoration concerns an existing object whose condition cannot always be fully assessed before work begins. During treatment, previously undetectable conditions, damage or earlier interventions may become apparent, making additional work necessary. For treatments commissioned by private clients, the total cost may, in such cases, increase by up to a maximum of 20% of the original quotation, exclusively for additional work made necessary by unforeseen conditions discovered during treatment. Any additional work and the corresponding change in cost will be communicated to the client in advance and may only be carried out following their approval, regardless of the amount involved.

If the necessary additional work would result in an increase exceeding 20%, a revised quotation must be agreed upon before proceeding. For museums and institutions, the price and any conditions relating to additional work are defined according to the terms of the specific commission.

During restoration and conservation.

Once the treatment has been defined, the work follows the agreed plan. Certain decisions may nevertheless require further consideration during treatment. Observation, study, intervention and evaluation form part of the same process and may lead to particular choices being explored further or modified. The initial treatment plan is therefore reassessed as the work progresses, in light of the information that emerges. Decisions are adapted to the conditions actually encountered in the instrument, while maintaining the agreed objectives of the treatment.

Care and return of the instrument.

When the instrument is returned, instructions are provided regarding its proper storage, use and conservation. If warranty work requires the instrument to be returned to the workshop, the costs of transport both to the workshop and back to the client, including insurance coverage for both journeys, are the responsibility of the client.

Warranty.

Restoration and conservation treatments are guaranteed for a period of one year, limited to the consolidation work actually carried out during treatment. The validity of this warranty is conditional upon compliance with the instructions regarding storage, use, environmental conditions and maintenance of the instrument, provided when it is returned.

Before contacting me.

If you are considering entrusting an instrument to me for restoration or conservation, you can write to me with a brief description of the situation and provide any available information. It may be useful to indicate the type of instrument, its known history, any problems already identified and to include some photographs. From this information, we can begin to assess the possible approaches to treatment together. Entrusting an instrument for restoration means jointly defining the reasons, objectives and limits of an intervention.

Diatonic hurdy-gurdy by an unknown maker, Alpine region, late 17th–early 18th century.

Preserved at the Museo degli Strumenti Musicali, Civiche Raccolte del Castello Sforzesco, Milan (Inv. S.M.199).

The photographic sequence documents a preliminary cleaning test carried out to evaluate the selective removal of a coherent surface deposit while preserving the underlying original black varnish. The investigation began with the identification of a representative test area, followed by a detailed examination of its surface under visible light and ultraviolet-induced visible fluorescence. Preliminary solubility tests were then conducted using the selected solvent, with the results examined under both lighting conditions. Subsequently, a cleaning test was performed using a water-in-oil emulsion consisting of ligroin, water and Tween 20, a non-ionic surfactant derived from ethylene oxide. The aqueous phase containing Tween 20 was adjusted to pH 6.5 before preparation of the emulsion. The photographic documentation includes the condition of the surface before treatment, the preliminary solvent tests, the application of the cleaning emulsion, the examination of the used swabs and the final condition of the test area, each observed under visible light and ultraviolet-induced visible fluorescence. Although the cleaning result was barely perceptible under visible light due to the black colour of the varnish, examination under ultraviolet-induced visible fluorescence clearly revealed the removal of the coherent surface deposit while preserving the characteristic greenish fluorescence of the original varnish. This investigation illustrates the importance of preliminary testing, the selective action of cleaning systems and the use of complementary examination techniques to evaluate both the effectiveness of an intervention and its compatibility with the historical materials.

MAINTENANCE & REPAIRS

I offer maintenance and repair services for both original historical plucked musical instruments and contemporary instruments based on historical models, whether made in my own workshop or by other instrument makers. The work may include adjustments to the instrument's setup, replacement of components subject to wear, the resolution of functional problems and periodic maintenance. Each intervention is assessed in relation to the instrument's construction characteristics, its condition and its intended conditions of use. The work required and its cost are determined following direct examination of the instrument at the workshop. Maintenance and repair work is subject to the workshop's availability. The timing of any intervention is agreed upon according to the existing work schedule.

CONSULTATIONS

I offer consultations dedicated to historical plucked musical instruments.

Consultations may concern the identification of an instrument, the study of its construction characteristics, an assessment of its condition and an estimate of its monetary value. Direct examination of the instrument makes it possible to gather and verify information that cannot always be obtained from photographic documentation alone. Consultations take place by appointment at my workshop in Cremona, at a rate of €80.00 per hour. Consultations are provided orally only and do not include the issuing of certificates, written statements or appraisal reports. The assessments provided are based on direct examination of the instrument and interpretation of the available information, taking into account the limits of current knowledge and existing documentation.