Here is the only piano factory in Italy

Luigi Borgato

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Luigi Borgato

Luigi Borgato (Gallarate, 21 February 1963) is an Italian piano builder craftsman.

A Venetian master builder, he was responsible for the realization and technical improvement of certain construction aspects of the piano [without source], which later became patented. In this capacity, he holds masterclasses in piano construction and technology in Italy and abroad[1].

Contents

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1Biography

2Patents

2.1Doppio Borgato

3Notes

4Bibliography

5Other projects

6External links

Biography[edit | edit wikitext]

In 1991, at the age of 28, he presented his first concert grand piano to the public at the European congress 'Europiano'[2].

Luigi Borgato personally selects the woods and chooses all the materials and components for the realization of his pianos.[3] He is also a technician-tuner and fine-tunes his own instruments for concerts and recordings, assisting internationally renowned pianists.

The pianos built by him have been appreciated by internationally renowned artists such as Radu Lupu[4], Andras Schiff, Vladimir Ashkenazy[5], Rosalyn Tureck, Lazar Berman, Maria Joao Pires, Ingolf Wunder, Roberto Prosseda[6], Leonora Armellini, Martin Berkofsky, Antonio Ballista, Bruno Canino, Michele Campanella, Roberto Giordano, Massimiliano Ferrati, Semion Balshem, Jean Guillou, Charlemagne Palestine, Cameron Carpenter, Johannes Skudlik, Giorgio Carnini.

Patents[edit | edit wikitext]

The Doppio Borgato

Luigi Borgato has registered several patents. A first patent, granted to him in 1991, concerns the equipping of his pianos with four strings struck per note, from the middle of the keyboard to the high notes (from F3 49.23 Hz to C8 4186 Hz.), and innovative cast iron frames.

Doppio Borgato[edit | edit wikitext]

See also in detail: Doppio Borgato.

A second patent is from 2000: inspired by compositions written for piano with a pedalboard, he designed, patented, and built a new instrument, the first double concert grand piano with a pedalboard in the contemporary era, the Doppio Borgato[7][8][9].

Gallarate21 febbraio1963artigianopianofortiitalianopianofortesenza fonte[1]1Biografia2Brevetti2.1Doppio Borgato3Note4Bibliografia5Altri progetti6Collegamenti esternimodificamodifica wikitesto[2][3]Radu Lupu[4]Andras SchiffVladimir Askenazi[5]Rosalyn TureckLazar BermanMaria Joao PiresIngolf WunderRoberto Prosseda[6]Leonora ArmelliniMartin BerkofskyAntonio BallistaBruno CaninoMichele CampanellaRoberto GiordanoMassimiliano FerratiSemion BalshemJean GuillouCharlemagne PalestineCameron CarpenterJohannes SkudlikGiorgio Carninimodificamodifica wikitestoDoppio Borgatomodificamodifica wikitestoDoppio BorgatoDoppio Borgato[7][8][9]

I know that Borgato also exists, and if he wasn't even talked about here

https://www.pianoconcerto.it/forum/index.php?/topic/219-luigi-borgatochi-e-costui

... his pedal technique has various points of weakness.

I played on the Borgato, not on the pedal piano, so I cannot express judgments on that. The piano is wonderful, a fearsome keyboard; you only have to think about what you need to play and it practically plays itself, a beautiful sound, far from any weaknesses...

TheSimon wrote:

altro che debolezze...

Perhaps we didn't understand each other, especially because I haven't fully developed my thought. I am only listing some of the limitations of the pedal piano (to the latter I was obviously referring):

- pedalboard not very extensive

- sound of the pedalboard identical to that of the keyboard

- do you have any idea what moving it entails (I also mean the costs?)

- do you know how much the list price is?

- if you have to use it (rent it), you have to pay for the travel even for Borgato. The pedal piano goes where he goes

- if Borgato gives you the okay and on the day of the concert he isn't feeling well, he will give you a hard time that never ends. What do you tell the theater management?

.... do I need to continue?

I posted the Wikipedia link for Borgato pianos (manufactured in Italy) because the title of the article reads: "Here is the only piano factory in Italy",
no controversy and no comparison,,,

The pedal piano by definition is that one, namely having a soundboard like that of the piano and a functioning like that of the piano. How can you expect a different sound?

The pedalboard is as extensive as necessary to play pedal piano pieces because it is good to remember that the pedal piano is not a replacement for the organ pedalboard; it is something in itself. In literature, there are not many pieces for the pedal piano, but it was created to cover that range.

Being a very specific field, it is usually aimed at municipal administrations that do not have a problem spending 1000 euros more.

Borgato's wife and another technician also work with him. If Borgato is unwell, it is obvious that the concert cannot be canceled, so he will pass the ball to other people. So far, in any case, it has never happened...

I have dedicated a couple of pieces to the pedal piano and I can say that there indeed exists the Pinchi pedalpiano system, which is an interesting solution from a musical point of view, in addition to various logistical advantages.

http://www.pinchi.com/pedalpiano.asp

I didn't imagine that a pedal piano existed, but since when?

Azzurro wrote:

I didn't imagine that a pedal piano existed, but since when?

From this article it can be seen that they are talking about pieces written at least since the 19th century

https://en.wikipedia.org/wiki/Pedal_piano

TheSimon wrote:

How can you expect a different sound?

Sorry, but who spoke about a different sound (timbre)? I spoke about voice; if at the keyboard you have a Steinway & Sons and at the pedalboard a Fazioli, those are two different voices.

The patent cited by Frank addresses this need... if that weren't the case, it would be like writing a piece for 3 or 4 hands, same result. What would be the value of a pedalboard?

Borgato has given his answer; there are others on the subject, as far as anyone knows.

You can even combine Borgato/Fazioli or vice versa... if you like

Gia wrote:

no controversy and no comparison,,,

Don't worry, I know Borgato exists

I believe Schumann was one of the first to write for the pedalflügel; I wouldn't know who was the very first, but anyway, the first experiments date back to the first half of the 1800s