I have been building clavichords and harpsichords since 1977. Using traditional materials and methods, I am known for instruments of
rich character and 'color,' and for attention to details of touch and
reliability. I work alone, which allows me to focus all my
energy and passion on each instrument.
It is very important, I believe, that I am a player myself. All
of my instruments receive a proper playing-in, and I expect them to satisfy
my own demands as a player before I send them out into the world.
I have built instruments for the Indiana University Early Music Institute,
Reed College, Brigham Young University,
Southwest Oregon Community College, the University of Oregon, Central Washington University, Western Oregon University, Boston University and MIT. My private clients value their privacy,
and I respect it. But I will be happy to refer serious inquiries
to them for an independent view of my work, as well as
of my timeliness and general business practices
In addition, two major Baroque orchestras, Boston
Baroque, under the direction of Martin Pearlman, and the Portland
Baroque Orchestra, under various musical directors including Ton Koopman
and Monica Huggett, have used privately-owned instruments of mine as their
primary ensemble harpsichords for nearly two decades. Several of Boston
Baroque's recent CD's, including at least two earning Grammy nominations,
were recorded using my instrument.
Ultimately the instruments must speak for themselves,
and there is no substitute for experiencing them in person. I always
maintain a concert-ready instrument on which I perform, and I welcome
visits to my home and shop. Since 1996 I have exhibited my harpsichords and clavichords at the Berkeley Festival and Exhibition and the
Boston Early Music Festival. The
instruments are available to play, and there are typically mini-recitals
each day, including performances by harpsichordists who have recorded
for Wildboar Recordings.