About new organs - Design

materialized human energies which go down deep, give message of spirituality, help meditation and prayer, touch the souls.

Designing a non-religious space, such as a concert hall, is not any less demanding if the goal is sculpting and creating an instrument as if it were a totem of a different spirituality, a hymn to the musical heavens, a place of sound mystery as a mystery of all creations.

The organs have a history that has no time, thus their solid anchoring to traditions; nonetheless it offers infinite possibilities as an instrument that will never die in the future.

The casework of the organ is not only its resonance box: it’s its true casing, the business card that introduces the audience to the language and the soul of the instrument. The perfection of mass produced pieces has weakened our senses for a few decades to the point of getting us used to an altered perception of what perfection should be, often times becoming a synonym with impersonal and indifferent. People are getting used to saying: “Perfect, it seem as if it were made in a factory!” We are forgetting what’s really important, that is the unique aspect of a work of art as a product of man and his time. Each time in history has its Art. And that is what my job is: to translate in a work of art the artistic language of our time.