Even if for some customers it seems to be the most important element, price is for me by far the least interesting part of an instrument; and frankly it’s sometimes not really easy to set a value to an unique specimen made by hand.
The first thing that should be considered is that even in a simple fretted clavichord, despite a relatively sober appearance, are easily included 2-300 hours of work and in a harpsichord these can be in excess of 500. Since passion makes me want to continue this job for a long time, these hours need to be repaid. The final price, including all costs, materials and tax charges, cannot be as low as some might wish.
However, if one considers that for an instrument costing about 10,000 € , about 500 working hours are required, even without detailed calculation, it is quickly evident that indeed the price for each built-in hour is lower than what people are normally prepared to pay to any other craftsman. Since I can assure that building a good harpsichord is definitely not a simpler task than changing oil or tyres, please look at the prices with the right set of mind and with respect for what is behind.
Good instruments last over time and are much a better form of investment than several other objects we buy. Although this doesn’t seems to bother anyone, in 10 years the value of a car, a TV or a smartphone will be reduced to fraction of the initial price. In the case of a good harpsichord, there will always the possibility to resell it and recover much of what was spent; sometimes one might even end up with a gain rather than a loss.
Since I am not bound to rigid models, I like to give everyone the opportunity to configure the instrument that best suits him, both in compass and disposition, as in finishing and accessories: I will help you in the process, but no one knows your needs better than yourself. For this reason, nothing is included in the price other than the finished instrument in playing condition. The rest is to be considered an extra and might be ordered together with the instrument, at a later time or even commissioned to another craftsman of your trust.
I tend to be symphathetic with students with low budget and I know how necessary good instruments for young musicians really are. Therefore, in addition to being able to purchase accessories separately, I provide for some instruments a simple, black-stained version with contrasting mouldings; this “black edition” derives its sober and elegant look from its cost-efficient finishing. The building quality is absolutely the same, but there’s less room for the customer to influence aesthetic choices.
I have chosen to use keyboard compass as the factor by which to set the price, since it gives a fairly precise indication on the amount of work and materials required. The keyboard is also one of the most time-consuming elements, which in turn affects everything else. Since 45 keys was one of the most popular standards during the Baroque era, I consider it to be the minimum today. Prices shown, already including taxes, refer to this compass; to obtain the final price for the desired compass, simply use the mathematical proportion.
Price for 45 keys is 4,500 €
4,500 : 45 = 100 (price per key)
Price for 49 keys: 100 x 49 = 4,900
Should you be interested in a copy of a particularly fascinating historical instrument, I invite you to contact me directly for a quote. Keep in mind that copies generally cost more than the instruments on my models, as I’ll be bound to the original in every constructive detail. To me, copying means carefully studying the instrument and reproducing it faithfully, without changes in compass, pitch, simplifications or else. If you don’t want an instrument like the original, don’t ask me to make a copy, because the only changes I’ll consider are on minor aesthetic elements.
This pricelist is not to be considered fixed and immutable, nor does it replace a specific quote that takes into account all of the materials and building aspects of the instrument: it’s main purpose is to give a close enough orientation and in fact it provides only some of the more interesting possibilities. If you are considering instruments that are not included in this list or you have special needs, please contact me with your requests: I am always happy to meet the needs of my customers.
|Polygonal Italian Virginal||6500||C/E-c’’’ 45 keys|
|Italian harpsichord, 1 stop “Black Edition”||7000||C/E-c’’’ 45 keys|
|Italian harpsichord, 2 stop “Black Edition”||8000||C/E-c’’’ 45 keys|
|Italian or German harpsichord, 1 stop||8000||C/E-c’’’ 45 keys|
|Italian or German harpsichord, 2 stops||9000||C/E-c’’’ 45 keys|
|Double fretted clavichord, “Black Edition”||4000||C/E-c’’’ 45 keys|
|Renaissance clavichord||4500||C/E-c’’’ 45 keys|
|Double or triple fretted clavichord||5000||C/E-c’’’ 45 keys|
|Unfretted clavichord||6000||C/E-c’’’ 45 keys|
|Pedalclavichord, fretted 3x8’, “Black Edition”||5500||C,D-c’ 24 keys|
|Pedalclavichord, fretted 2x8’ 1x16’ “Black Edition”||6000||C,D-c’ 24 keys|
|Lid for clavichord, black||150|
|Lid for clavichord, simple||250|
|Lid for clavichord, panelled||500|
|Carrying bag for clavichord||100|
|Covered strings (each string)||25|
|Lid for harpsichord||300|
|Extra 4’ stop||1500|
|Keyboard in bone||600|
|Keyboard in ebony and bone sharps||150|
|Stand for harpsichord||400|
|Bench for Pedalclavichord||300|