Nuremberg Akustika EXPO 2026 (24–26 April): Meeting Point for Historical and Modern Sound
In 2026, the Nuremberg Akustika EXPO (24–26 April) emerged as one of Europe’s most compelling international exhibitions dedicated to musical instruments, acoustics, and sound innovation. Hosted in the historic and culturally vibrant city of Nuremberg, the event brought together instrument makers, performers, researchers, and enthusiasts from around the globe.
While the EXPO embraced a wide spectrum of modern acoustic technologies and contemporary instrument design, it also offered a significant platform for historical craftsmanship. Among the exhibitors, McNulty Fortepianos represented an important contribution to the field of historical keyboard instruments, highlighting both the instruments and the expertise behind their creation.
The exhibition created a rare environment where past and present coexisted: contemporary acoustic research was presented alongside instruments built using historical techniques. This contrast made the presence of McNulty Fortepianos particularly meaningful, as their work reflects a direct connection to historical sound traditions.

McNulty Fortepianos: Craftsmanship and Historical Accuracy
At the heart of the exhibition was the work of Paul McNulty, whose name is closely associated with historically accurate keyboard instruments. For decades, McNulty has dedicated his work to reconstructing fortepianos that reflect the sound, touch, and aesthetic qualities of instruments from the 18th and early 19th centuries.
Each McNulty instrument is entirely handmade, built traditional materials and historically informed construction methods. This is not industrial reproduction, but a process of careful reconstruction based on research, experience, and refined craftsmanship.
At Nuremberg Akustika EXPO 2026 (24–26 April), visitors encountered fortepianos representing key historical models associated with composers such as Haydn, Mozart, Beethoven, Schubert, and Chopin. These instruments are not merely replicas but functional musical tools that allow performers to explore the expressive language of their time.
The workshop’s philosophy is focused on preserving and reviving the original voice of historical instruments through precise craftsmanship and deep musical understanding.

Sergei Kramer: A Key Collaborator in the Workshop
An essential contributor to this work is Sergei Kramer, a master builder whose role in the McNulty workshop has been fundamental. He has contributed to the creation of numerous instruments, including models after Walter, Graf, and Pleyel.
His work combines technical precision with artistic sensitivity. Building a fortepiano requires interpreting historical evidence, making informed construction decisions, and achieving a tonal balance consistent with historical models.
Kramer is deeply involved in the refinement of each instrument, contributing to shaping their responsiveness and tonal character while maintaining historical authenticity.
At the EXPO, his work was prominently represented through the completion of the Flemish harpsichord after Joannes Daniel Dulcken (1745 model).

Flemish Harpsichord after Joannes Daniel Dulcken (1745): Final Version
One of the key highlights of Nuremberg Akustika EXPO 2026 (24–26 April) was the presentation of the completed Flemish harpsichord after Joannes Daniel Dulcken (1745 model).
Previously shown at Cremona Musica 2025 in an unfinished state, the instrument was presented in its final version for the first time at the EXPO. This marked the culmination of an extended process of research, construction, and refinement.
The Dulcken model represents one of the most refined traditions of Flemish harpsichord building, known for its clarity, brilliance, and structural elegance. It played an important role in the 18th-century musical life.
The McNulty workshop approached this reconstruction with exceptional attention to historical detail. Every component, from the soundboard to the decorative elements, was crafted to reflect the original design and sound characteristics.
Visitors had the opportunity to experience the instrument in its completed form, revealing a rich and expressive tonal palette ranging from delicate transparency to full resonance.

Fortepianos after Walter and Pleyel
Alongside the harpsichord, McNulty Fortepianos presented fortepianos after Walter and Pleyel, representing distinct sound ideals of the late 18th and early 19th centuries.

Walter Model
Associated with Mozart and the Viennese Classical tradition, the Walter model characterized by clarity, precision, and a refined expressive range. Its light action and transparent sound are ideal for Classical repertoire.

Pleyel Model

Associated with Chopin, the Pleyel instrument represents a more lyrical and intimate sound world. Its tonal qualities support subtle phrasing and nuanced expressive shading.
Together, these instruments illustrate different stages in the evolution of the piano and the changing aesthetic ideals of composers across the Classical and Romantic periods.

Handmade Excellence: The Uniqueness of McNulty Instruments
McNulty Fortepianos are defined by their commitment to handmade craftsmanship. In contrast to industrial production, each instrument is built individually with meticulous attention to detail.

The process includes:
– Selecting and preparing natural materials
– Crafting components by hand
– Assembling and regulating the action
– Voicing the instrument to achieve the desired tonal character

This results in instruments that are not standardized, but unique in their sound and response. Each fortepiano carries its own individual character, shaped by human craftsmanship.
This approach ensures authenticity and allows performers to engage with instruments that respond organically and dynamically.

Interactive Experience at the EXPO
A key feature of the Nuremberg Akustika EXPO 2026 (24–26 April) was the opportunity for direct interaction with the instruments. Visitors were able to play, listen, and explore the instruments in an immersive environment.
This hands-on experience provided valuable insight into historical performance practice and the tactile relationship between performer and instrument.
McNulty Fortepianos actively encouraged this engagement, reflecting their mission to make historical sound accessible to contemporary musicians and audiences.

European Congress Seminars on Voicing and Regulation
At the EXPO, McNulty Fortepianos also contributed to the European Congress seminars on voicing and regulation. Paul McNulty and Sergei Kramer successfully presented sessions focused on historical instrument construction, voicing techniques, and performance-related regulation.

A Global Meeting Point for Musicians and Makers
The EXPO served as a meeting point for an international community of instrument makers, performers, and researchers. Ideas were exchanged, performances explored, and historical practices discussed.
For McNulty Fortepianos, participation in such events supports ongoing collaboration and knowledge exchange within the field of historically informed performance.
The growing interest in historically instruments continues to highlight the importance of makers dedicated to authenticity and craftsmanship.

Bridging Past and Present Through Sound
McNulty Fortepianos contribute to a broader cultural dialogue between historical and contemporary musical practice. Their instruments are not museum objects, but active tools for artistic expression.
By reconstructing historical models with precision, the workshop enables musicians to approach repertoire in ways that reflect its original context, while still allowing space for modern interpretation.