Early music artists tend to be passionate about their music. Similarly, professional instrument makers can have intense feelings about their work. As a harpsichord maker, I am committed to producing instruments that are inspiring to the eye, the ear, and the hand. I have developed my harpsichords and clavichords to meet the desires of professional musicians and other serious players who look for the ultimate in musical expression and fulfillment. My instruments are as timeless as the antiques on which they are modeled, and I am devoted to the continuing satisfaction of their owners.
My harpsichords and clavichords are the product of an individual hand. I research, analyze, and build these instruments in a way that is faithful to period construction techniques. This fidelity is not an antiquarian exercise: Quite simply, it produces the best instruments, assuring excellent sound, stability, and longevity. As with many fine things, a good instrument gains in character with age. With proper care, the instruments I make will last as long as their seventeenth- and eighteenth-century ancestors; they will also continue to maintain their value. Only instruments made the way I make them can offer you a sense of expanding musical expression, enjoyment, and value for generations.
My instruments embody more than 28 years of research, in both archival study and hands-on work examining, measuring, and restoring antique harpsichords and clavichords. While my instruments are not line-for-line copies of individual antiques, each model type is based on a particular instrument which represents the essence of the work of a maker like F. E. Blanchet II or Pierre Donzelague, or of an entire regional group like the Parisian or the Hamburg schools. This foundation of research offers modern players a genuine link to the origins of the music they study and perform.