Mario Del Grosso

Construction and Restoration of Harpsichords, Spinets and Fortepianos

Each instrument made is the result of hard work and research that combines history, art and music, inviting us to rediscover the authentic splendor of the ancient musical tradition

Harpsichord manufacturer

Where art unites with tradition

Mario Del Grosso is a builder and restorer of harpsichords, spinets and fortepianos. These are accurate replicas of prestigious historical instruments and currently preserved in global museums and private collections.

These instruments are made with high-quality materials and according to strict philological criteria, combining accurate construction techniques and modern equipment.

His workshop, in addition to production, is also dedicated to education on maintenance and tuning, enriched by collaboration with decorators and painters for the aesthetics of the instruments, evoking the historic synergy between makers and artists. Such instruments aim to honor the era of early music and its composers, offering instruments worthy of that musical legacy.

He began his musical studies at the Genoa Conservatory, graduating in piano with PinaTelara and in harpsichord with Gabriella Gentili Verona. He then participated in the International Master Courses in harpsichord, basso continuo and baroque orchestra in Pamparato, Escorial, held by David Collyer, Aline Zylberajch and Gustav Leonhardt. His activity is mainly in early music. In fact, he has given numerous concerts both as a soloist and with singers, instrumentalists and orchestras in many Italian locations and abroad (USA, Canada, Sweden, Spain, Norway, Denmark, Germany, Hungary, Austria, France, and recently in China and Singapore). Lecturer at Early Music Courses in Cervo and Stresa from ’87 to ’91, he taught in various music courses financed by the European Social Fund aimed at the staging of baroque works. He has made A TV recording for RAI and several recordings for Qudrivium, Arion, Bongiovanni , Opus 111, Stradivarius, for the latter he recorded the sonatas and trios of G.B. Platti obtaining record award and reviews at the highest level. Completing his training is his activity as a builder and restorer of antique instruments. Finely technical-acoustic, finely decorated instruments he uses in his performances. Among the most important achievements is the first complete reconstruction, in Italy, of the Fortepiano A. Walter (Mozart’s fortepiano).

The harpsichord, spinet, and fortepiano are all keyboard musical instruments that have played a significant role in Western music, particularly from the Renaissance to the Classical era. While they share some similarities, they differ greatly in construction, sound mechanism, and musical use. Here are the main differences:

Harpsichord

  • Sound mechanism: The harpsichord produces sound by plucking strings with a quill or similar material when a key is pressed. This mechanism is known as the “jack”.
  • Timbre: It has a distinctive, bright, and somewhat metallic sound, with little dynamic control over individual notes. The volume of sound does not vary with the force of key press.
  • Use: Very popular from the Renaissance to the Baroque period, it was extensively used in solo, chamber, and orchestral music.

Spinet

  • Sound mechanism: The spinet also plucks the strings, similar to the harpsichord, but it is usually smaller and the strings are arranged differently, often diagonally across the body of the instrument to save space.
  • Timbre: It produces a sound similar to the harpsichord but tends to be more delicate and less resonant, due to its smaller size and construction.
  • Use: It was popular for home use and in intimate performances, given its more manageable size and softer sound.

Fortepiano

  • Sound mechanism: The fortepiano, the predecessor of the modern piano, produces sound by striking the strings with hammers covered in leather or felt. This mechanism allows for much greater dynamic control compared to the harpsichord and spinet.
  • Timbre: It offers a wider range of dynamic expressions, from soft to loud sounds, depending on the force applied to the keys.
  • Use: It became popular in the late 18th century, particularly with the music of composers like Mozart and Beethoven. It marked a significant development in keyboard music, allowing for greater expressive nuances.

In summary, while the harpsichord and spinet produce sound by plucking the strings and offer limited dynamic possibilities, the fortepiano utilizes a percussive mechanism that allows for a wider range of expressions. These differences reflect not only the technological evolution of keyboard instruments but also the change in musical preferences and stylistic trends through the centuries.

  • Italian, French, and Flemish harpsichords represent three distinct traditions in the construction of these instruments, each with unique characteristics that influence the sound and appearance of the instruments. Differences are reflected in design, decoration, construction, and sound quality. Here is a summary of the main distinctive features:

    Italian Harpsichords

    • Construction: Italian harpsichords are known for their lightweight construction. Often, the body of the instrument is built without a heavy internal frame, resulting in a more portable instrument.
    • Sound: They produce a clear, bright, and direct sound, with considerable projection. This sound quality makes them particularly suitable for solo and chamber music.
    • Decoration: The decoration can be relatively simple compared to other styles, with an emphasis on the choice of fine woods and a natural finish that highlights the beauty of the material.

    French Harpsichords

    • Construction: French harpsichords are built more robustly than their Italian counterparts, with more frequent use of a heavy frame that contributes to a richer and deeper sound.
    • Sound: They have a warm, rich, and resonant sound, with a wider dynamic range. These qualities make them suitable for a wide repertoire, from solo to orchestral music.
    • Decoration: The decoration is often elaborate, with the use of paintings, inlays, and gilding that make these instruments visual as well as musical works of art.

    Flemish Harpsichords

    • Construction: The construction of Flemish harpsichords is solid and meticulous, with features that often include a double keyboard and an extended range of notes.
    • Sound: Their sound is described as clear and penetrating, yet with a richness and resonance that support both solo and ensemble repertoire well.
    • Decoration: The decoration varies, but often includes refined details such as paintings on the soundboard, decorations on the lid and sides, and ornate keyboards.

    Each style reflects not only the aesthetic and musical preferences of their respective cultures but also technological evolution and access to specific materials. While harpsichord makers in these countries followed general common principles, regional differences in materials, construction techniques, and musical preferences led to the creation of instruments with distinctive sonic and visual identities.

Harpsichords

Italian Harpsichords

French Harpsichords

Flemish Harpsichords

English Harpsichords

Our Instruments

Cypress Wood Spinet – Copy of Zenti 1600

This spinet, made with craftsmanship and attention to detail, is constructed using cypress wood for the case, with the option of adding an external case upon request. The interior of...

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English Harpsichord – Copy of J. Kirckmann, 1785 with Double Keyboard

This English harpsichord, an accurate reproduction of J. Kirckmann’s 1785 model, is remarkable for its craftsmanship and elegant design, with a double keyboard that expands its expressive capabilities and makes...

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Italian Harpsichord – Copy of Grimaldi 1697

This is a faithful reproduction of a historic harpsichord built in 1697 by Carlo Grimaldi in Messina, now preserved in perfect condition at the Nuremberg Museum in Nuremberg, Germany. Carlo...

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The Instruments made at work

info@harpsichord.it

+39 339 1000129

Via San Luigi 20/1, Genoa, Italy