Paul McNulty’s path into fortepiano building did not start with a fully formed vocation. After completing a two-year training as a piano technician in Boston, his early professional life focused on maintenance, repair, and technical problem-solving rather than instrument building itself.

A successful technical intervention opened unexpected doors. McNulty was invited to collaborate more closely with Zuckermann, initially assisting in production. Soon after, circumstances accelerated dramatically: an urgently awaited fortepiano, already paid for by an institution, needed to be completed without delay. Within a very short time, McNulty found himself promoted to instrument builder, working under intense pressure to deliver. That instrument would prove to be pivotal.

One of the most frequently recalled episodes from this period involves Trevor Pinnock. After trying the newly completed fortepiano, Pinnock immediately placed an order of his own, entrusting McNulty with the task and advancing the full sum on the spot. It was a moment of both affirmation and immense responsibility. Expectations were high, deadlines tight, and the challenges of workshop organization added further strain. Yet these early trials laid the groundwork for a professional philosophy that would later define McNulty fortepianos: precision, historical responsibility, and unwavering commitment to the musician.

As demand grew, it became clear that survival in this specialized field required scale as well as excellence. Increasing production was not an artistic compromise but a practical necessity. Over time, McNulty fortepianos developed a sustainable structure that allowed historically informed craftsmanship to continue without sacrificing quality. This balance between critical mass and individual care remains central to the workshop today.

The interview also highlights the importance of continuity and collaboration. Among the figures shaping the current and future direction of the workshop is Sergei Kramer, whose work spans several historical models, including instruments after Graf, Walter, Pleyel, and others. Kramer’s path into fortepiano building was far from conventional. Originally trained as a carpenter with experience in furniture making and piano restoration, he came into contact with historical pianos through the McNulty workshop, gradually expanding his expertise to include instrument mechanics and historically informed construction.

The story of McNulty fortepianos is also inseparable from the presence of Viviana Sofronitsky. As an internationally active performer and a central figure in the workshop’s artistic and communicative life, she has contributed significantly to shaping its identity, outreach, and long-term vision. Her perspective bridges the worlds of performance, instrument making, and communication, ensuring that each instrument remains firmly connected to the needs of musicians.

The interview offers a thoughtful glimpse into the long-term realities of historical instrument making, touching on experience, trust, craftsmanship, and collaboration. Readers interested in these reflections can explore the full conversation in the published magazine, where the discussion unfolds with greater breadth and context.

Concerto – Das Magazin für Alte Musik, Nr. 313 (3/2025) https://concerto-magazin.de/aktuelle-ausgabe/concerto-das-magazin-fuer-alte-musik-nr-313-3-2025.html

The themes explored in this conversation resonate closely with recent performances and projects featuring McNulty fortepianos worldwide, where historical instruments continue to open new perspectives on familiar repertoire.