Another life: an unusual recycling project
Above: Lorenzo Rossetti with the completed casket commission. The brief required all parts of the piano to be used before additional materials could be added.
Words and photos: Lorenzo Rossetti
Well…this is my first time, in many ways. It is my first time writing for a magazine, first time making a casket for cremation, and indeed my first time transforming an old piano into a casket.
I’m Lorenzo, a woodworker who for some time has been collaborating with Pianos Recycled in Melbourne to transform old pianos into furniture, memento boxes and whatever the customer might desire, to continue the legacy that a piano brings together with its memories.
1. Reconfiguring the piano parts into panels was challenging.
This time the scope was a coffin made entirely of an old piano that our customer Leslie played for more than 60 years as a music teacher. What a story right there, and full credit to her for coming up with this idea!
It was not a simple task as there were many things to take into account, such as regulations and appropriate measurements. In a few words, I needed to learn how to stretch timber.
2. Several glue-ups were needed to use up small and variously sized parts.
Transforming pianos is generally challenging and differs from classical woodworking. In this instance, some of the wood was bowed, cupped or twisted, some was lower grade or poorly veneered and had lived in a too-dry environment. I had to use a budget piano’s material where parts were veneered only on one side on a substrate of English lime.
After assessing the parts of the disassembled piano, I came up with a sketch and a plan for achieving the best result. For symmetry, the axis of the parts had to be turned 90° and in general rearranged to achieve the desired dimensions. I had to make use of all the piano timber before using new material. There were regulations regarding the seal, and for cremation non-toxic glues and finishes had to be used.
3. Joining and assembling the parts required creative solutions.
I had to overlook the condition of the parts (bowed, beaten or ruined by age), the symmetry of veneers and matching joints, and close an eye (sometimes both) as to what fine woodworking is all about.
For the base I used the main frame of the piano, then joined the posts together using a mix of half lap joints, dominos and simple glue joints. The posts were tapered, so I minimised waste by following their shape and matched to join the opposite taper.
4. With many unforeseen challenges, work proceeded with decisions made along the way.
The upper front panel and sill of the piano were joined with glue and pocket screws to create the head and foot of the casket. For the sides, the piano endplates were dominoed, biscuited and ‘extended’ with other parts. Every cut needed to be as precise and as conservative as possible given the limited amount of material available. One wrong cut and you’re out…
Not having a clear plan on how to proceed with the lid (I couldn’t work it out on paper), I began processing the parts as a two-section lid where the fallboard would make the head end. Happily, a better idea came from Lesley however, which also brought unforeseen challenges.
5. Some carved decorations were added to the interior.
I resorted to using four blocks of solid walnut to close up the corners, while admittedly closing my eyes and silencing the voice inside me, because nothing was lining up. And yet I had a blast carving all the profiles to match the existing ones, as well as carving some decoration on the inside.
The handles were made from the piano feet as I couldn’t find suitable options for cremation available that weren’t sold in bulk. These were shaped and securely fixed with screws and glue.
The piano soundboard was cut and joined to seal the interior of the lid and a moulding used to reinforce the hinged side before installing the satin lining. I then sanded and scraped off the old finish to lower the chance of rejection at the crematory and finished with a simple coat of hardwax oil, enough to pop the old grain.
6. There was very little material left over, making this transformation a success.
The end result is a little different to my taste yet the piano can still be seen. I maintained certain engravings, the lock and some other features that still allow it to identify the piano as it was. There was very little material left over, making this transformation a success. A question does arise. Why do I do this? This kind of work is time consuming; nothing comes out straight, often the wood isn’t of the best kind, and the end result can be ‘eclectic’.
However the timber can be exceptional at times. Recently I’ve had the pleasure of transforming an old American organ completely made of quartersawn white oak, another one in walnut – valuable timbers and pleasurable to work with. The internal structure of pianos can be made from English lime, poplar, beech, spruce and pine. The outer panels often utilise wonderful veneers, most often walnut burls and flames.
My reasons for doing this kind of work is having the opportunity to produce nice furniture using limited and damaged parts. It increases my accuracy – one wrong cut and you’re done! I see the techniques and joints used in the piano making industries and learn what not to do (no, don’t veneer one side only – if someone asks, say no or give them bananas!).
7. Satin-lined and refinished in a hardwax oil, the casket is ready to take its eventual owner to another life.
Importantly, as with this commission, it’s the knowledge that my work will go into a meaningful piece that not only carries more than half a century worth of memories but will serve as a final vessel to be showcased onto the most important stage of life.
In this article I would like to thank Pianos Recycled and Lesley for the trust, and also the guys that I share the workshop with who give me ideas and opinions and help me, and also my family and my angel that guides me, always.
Lorenzo Rossetti @lorenzowoodworking is a bespoke furniture maker and restorer in Melbourne.
First published in Australian Wood Review, issue 127, June 2025.