Harpsichord maker Jukka Ollika on making the Omniwerk, inspired by Leonardo da Vinci
Jukka Ollika is a Finnish harpsichord maker based in Prague, who recently completed an experimental instrument called Omniwerk. It was created by combining two historical keyboard instruments, a baroque era keyboard lute, and a Viola Organista, invented by Leonardo da Vinci. I met with Jukka Ollika in his studio in Prague’s district of Vysočany to have a look at the strange instrument and to hear what it sounds like.
"This instrument is a combination of two historical keyboard instruments. The lower manual, which is like the lute harpsichord, is basically like a cembalo, but instead of metal strings, it has gut strings. In this particular instrument, we have used synthetic gut strings, so the sound is not that metallic, and sounds more like a lute or a harp.
“And then we have the second manual, a Geigenwerk or Viola Organista. The mechanism of this instrument, the drawing, was made by Leonardo da Vinci. And in the 1600s, several manufacturers started to make this instrument. The idea is that you have a mechanism which is moving the string against this kind of a belt, which works like a violin bow.”
So are you using the same mechanism as the one designed by Leonardo da Vinci?
“Yes. The mechanism is very similar. Leonardo da Vinci has also drawn a belt in his sketches. Later, many makers would replace it with this kind of resin wheels. Perhaps making such a belt was difficult in those days. On the other hand, using the resin wheels also wasn’t easy. But it probably made sense in those days.”
You are a harpsichord maker by profession and your instruments can be found in music halls all over the world. Where did the idea to create this unique instrument originate?
“I have known about the Viola Organista for quite a long time. There is one original instrument in the Museum of Music in Brussels, but it is not playable.
“They made this kind of replica a long time ago in order to hear what it sounds like. However, something went wrong and the instrument was not functional.
“However, about ten years ago, the Polish musician Sławomir Zubrzycki managed to make a functional Viola Organista. And a friend of mine, Lauri Porra, who is a composer in Finland, asked me if I could make a small version of the instrument for him.
“I got the idea to actually combine both mechanisms in one, with just one set of strings.”
“And then I got the idea to actually combine both mechanisms in one with just one set of strings. I asked a friend of mine, Jonte Knif, who specialises in professional audio devices, to join me in the project. So that’s how it started.”
So the Omniwerk that we are looking at right now is the second one that you produced. How long did it take you to make it?
“Well, we got the idea to make an improved version of the instrument about two years ago, but I would say it took us about four months in total to put it all together. It was actually quite different work from making harpsichords.
“There are so many more parts in this instrument. We also made all the strings ourselves, and the whole work involved a lot of experimenting. So this is still kind of a prototype and one day there will definitely be Omniwerk number three, once we find the time.”
What kind of material did you use to make this particular instrument? What kind of wood?
“The bottom of the instrument is a spruce, and then we have lots of beach parts inside for stability, which is very important, because otherwise the mechanism wouldn’t really work. For the soundboard, we used alpine spruce from Switzerland, which is pretty standard for harpsichords.
“We used fluorocarbon strings, which we covered with silk, and in the base, it is covered with copper windings. The keyboards are pretty standard, using ebony and lime-wood. Other than that, it is quite a standard harpsichord construction.”
So what was the most challenging part in the process of creating the instrument?
“I guess one of the most challenging things is to decide the overall design, because you are not able to test what it will sound like. Once you decide about all the plucking and bowing points, you cannot really change it too much. Although in this case, we will actually move them a little bit…”
So it is a sort of work in progress…”
“Yes, it is!”
The Omniwerk definitely doesn't look like an instrument for beginners to me. Can a harpsichordist who has never played the Omniwerk play it without previous training?
“The lower manual is pretty much the same as a harpsichord, so that’s not the problem, but the upper manual is a little bit different from any other keyboard instrument.”
I have already said that you have produced a number of harpsichords, and they are now in the ownership of very famous musicians. Is there any particular instrument that you are especially proud of?
“I think I am proud of every instrument I made and I won’t send them out before I am happy with them.”
“I think I am proud of every instrument I made. I make the instruments for myself and I won’t send them out before I am happy with them.
“But I would say that every instrument is actually better than the previous one, so probably the latest instrument is the one I am most proud of. But they are still far from perfect and there is still a lot of room for improvement.”
Is this what you like about your work? The fact that you are constantly improving and finding new ways to do things?
“Definitely. That’s the essence of the work for me. I really like inventing and refining techniques of creating the individual parts of the instrument, such as the keyboards.
“I have already made keyboards in so many different ways, and usually when you find a way that is very precise, it also happens to be very fast. It’s nice that these things go hand in hand.”
In what way was the Omniwerk different from your regular work?
“The main thing is that we didn’t have anything to start from. When I am making harpsichords, the instruments are based on some existing, historical instruments. But here we really have to start absolutely from scratch and that’s very different, of course. But it is also nice that you are not limited in any way, you can do whatever you want. That is fascinating!”
And is it likely that you will be making another Omniwerk in the future?
“Definitely. It would be kind of silly to stop here, because we already know of so many ways to improve it. Hopefully, someone will order the instrument from us, because otherwise it is quite an expensive hobby.”
What about this particular Omniwerk? Will it stay in your ownership or will you eventually sell it?
“This instrument has actually been bought by Aki Rissanen. He got some financial support from the Finnish Cultural Foundation and in May or June, it will be travelling to Finland.”
You mentioned that it's very costly. So how much does it cost?
“We never really count the hours we put into the production, because it would be ridiculously expensive, but let’s say it is twice the price of a harpsichord.”
And how much is a harpsichord?
“A double manual harpsichord costs about 20 to 50 thousand euros.”
When did you actually start making harpsichords? Do you still remember when you produced your first instrument? And what was it?
“For my first instrument, I purchased the parts or a primitive kit from a Finnish harpsichord maker. That was in 1997. I actually needed an instrument for myself and I didn't have the money to buy one.
“Later, I moved to Holland to study the harpsichord, and I ended up working as an apprentice for a harpsichord maker in Amsterdam. And since 99, I have had my own workshop. So since then I have been doing it as my main profession.”
To end on a more personal note, what made you settle in Prague?
“That’s a good question. I spent nine years in Holland and I had always known that I was not going to stay there for the rest of my life, because I never really felt at home there.
“But then I came to Prague and I was so amazed and I just decided to move here. At first was thinking about moving to Finland for the summers and stay in a Holland in the winters, but after spending a year in Prague, I decided to stay here.”
Do you feel at home here? Would you say Czechs and Fins have a lot in common?
“Yes, I would say the Finnish and Czech mentality is very similar, although the Czechs are a bit happier!”
What else do you like about Czechia and about Prague?
“Well, of course it’s the most beautiful city for me and the strange thing is that you never get used to it. Every day, I am as amazed as on the first day, so it doesn’t wear out!”
Harpsichord maker Jukka Ollika talking there about the Omniwerk and his life in Prague. And we’ll leave you now with Aki Rissanen, a Finnish keyboardist and composer with a piece specially created for the Omniwerk, which he recently performed at a concert in Prague.
