All my instrument designs, materials and structure are based on the surviving 17th and 18th Century Harpsichords from the French, Flemish, Italian and German schools of building. To ensure stability, I use only well seasoned timbers of yellow poplar, German spruce, Swiss pear, Italian cypress and European beech along with logs of ebony, boxwood and holly. Virtually all of the parts used in the instruments including the keyboards and jacks are handmade in my West Vancouver workshop.
My instruments are used in concert halls by many of the world's top players, ensembles and orchestras. "
"Sabathil & Son was founded in Germany in 1948, in a small town only a few miles from Mozart’s hometown of Salzburg.
Sigurd Sabathil started building harpsichords at the tender age of 9 with his father, Simon, continuing a legacy of three generations of instrument making. ...
We are located on the west coast of Canada on Bowen Island, a short drive and ferry ride from Vancouver, BC. Our workshop is surrounded by 20 acres of pristine forest, the source of the 300-year-old aged Western Red Cedar used in our soundboards. ..."
"Cembaloworks of Washington provides tuning services for harpsichords in the Baltimore-Washington Mid-Atlantic region for concert, institutional and home-based instruments, as well as maintenance activities for all early music keyboard instruments. ..."
"After a 20+ years career as a professional pianist/musician, with a secondary, 30 years career tuning and restoring pianos, I have focused my interests and efforts in the building and restoration of historical stringed keyboard instruments, an extremely rewarding, sometimes challenging endeavor. To date, I have designed and built three harpsichords, specifically, a Flemish Double, a transposing Flemish Single, and a double transposing French Single. I have done countless restorations of harpsichords, virginals, clavichords, and fortepianos by builders including Dowd, Herz, Sutherland, Challis, Dolmetsch, Russell, Pleyel, and Belt. I have recently ..."
"Alastair enjoys an international reputation as a harpsichord maker, having made instruments for customers in the USA, Europe, Asia and New Zealand, as well as Australia. Recently completed commissions include instruments for Charles Darwin University, N.T., Camberwell Girls Grammar School, Melbourne, and the Melbourne Recital Hall. ...."
"My company makes custom handcrafted pianos and harpsichords. Each instrument is a one-of-a kind hand crafted instrument made to a high concert performance level. They combine state of the art engineering(mechanics) and detailed artwork(cabinet). ..."
"Since 1985 we have been building harpsichords in our small, two person workshop. I design and build the instruments and my wife, Sandra Shulinoff Miller, does all of the soundboard and lid paintings. Our yearly production is two to three instruments and several harpsichord and piano music boxes. We have no plans of increasing our output - instead we choose to make a small number of instruments which allows us to give each instrument the care and attention to detail they deserve. The alternative is to find, train, and manage employees which out of necessity would take us away from the actual building process - something we are not willing to do. ..."
Thomas Andres Wolf was trained as a bass player at the Interlochen Arts Academy and the New England Conservatory. He free-lanced for years playing in symphony, opera, ballet, early music, and chamber orchestras. Known worldwide as a maker, restorer, and historian of harpsichords and fortepianos, he maintains a workshop for the restoration and production of keyboard instruments with his wife, Barbara. He has been a James Smithson Fellow at the Smithsonian Institution's National Museum of American History.
With this extensive training and experience in musical instrument making and conservation, Tom has expanded his bass activities to better serve the orchestra, jazz, bluegrass, and period performance bassists he so admires.
In an effort to eliminate all negative sounds (wolf tones) his basses are signed: Thomas Andres Bass Makers."
"I have been making harpsichords for over thirty-five years, starting in Boston at the Hubbard harpsichord workshop, where I learned woodworking in the kit shop and voicing and finishing in the custom shop. I later went to work for Eric Herz in Cambridge, where I did cabinetry in his harpsichord shop. In 1986 I moved to Indianapolis, where I worked as head cabinetmaker and case designer at Goulding and Wood Pipe Organ Co. Even though employed by others all these years, I have still managed to make harpsichords in my own workshop. Having a one-man operation affords me creative and quality control throughout the entire project start to finish. I do everything from choosing the wood and other materials, designing, building, painting, and finally voicing the completed instrument. Soundboard decorating, however, is subcontracted to expert painters. I can also do carved and gilt stands and benches for my instruments as well as for other existing harpsichords.
I take time to make sure everything is done to the customer’s satisfaction and my own as well. I take pride in my experience and training and in my continuing work, and I am gratified by my customers’ praise and satisfaction with my work.. ..."
" I am a German Harpsichord Maker, Working in the Philippines and my Harpsichords are now also Accommodated to hot and humid Climate. I am Working on my own without any helper and make Master-Instruments of High Quality. ..."
"Thomas Ciul has been a builder of historical keyboard instruments for over 20 years. He specializes in small instruments that have been largely ignored by other builders, particularly pianos, as well as being a builder of the larger French and German instruments. He has done remarkable work on early pianos. The Clavichord/Piano and a Schmall Recumbent Harp piano (based on instruments in the Metropolitan Museum collection, New York NY) are examples of his re/creations.
Restoration and reconstruction of early keyboard instruments are important services offered by this shop. Many instruments have been restored or upgraded to excellent playing condition. A copy of a specific antique instrument can be made per your request. ..."
Robertson Harpsichords was officially founded in 1995 .
I have created over 50 instruments owned by musicians, collectors as well as Churches and Universities around the world.
In 1981, at the early age of 14, I built my first clavichord and then a harpsichord without kits using only hand tools while at the same time I switched my lessons from playing piano to harpsichord at Wheaton College in Illinois.
In college I studied both Biology and Harpsichord at Indiana University. I went on to medical School where I studied medicine for 4 years until I returned back again to Indiana University to pursue a Masters degree in harpsichord Performance. Today I live with my wife and 2 children. My wife Seana is my partner and she manages the business and financial aspects.
Some of my Harpsichord and Piano teachers included, Dr. Kenneth Mays for piano at Wheaton College, Illinois. Gladys Christensen at Wheaton College, Naomi Rowley, at Elmhurst College, Dr. Kenneth Dorsch and then professor Elisabeth Wright at the Early Music Institute at Indiana University. ..."
"Harpsichords from the workshop of Knight Vernon are based both musically and aesthetically on antique prototypes found in the major schools of harpsichord making from the sixteenth through eighteenth centuries. As models for these instruments we have chosen those prototypes which upon restoration have been found to be of outstanding musical value. ..."
Forrest Dillon has been working on harpsichords since 1974,
when he built his first instrument from a Zuckermann kit. In the
early 1980's he worked for the noted builder Eric Herz. In his
spare time he has since built six instruments, the most recent
a German double in 2012.
Having taken lessons over the years from several prominent harpsichordists, and attended workshops and masterclasses, Forrest
occasionally performs both as soloist and as continuo for small groups.
Since retiring in 2006 Forrest has been able to devote more time to the tuning, maintenance, and repair of harpsichords. His clients include private individuals throughout New England, and institutions such as Bowdoin College, the Bowdoin International Music Festival, the Portland Symphony, and the Portland Conservatory of Music.
•Plectra replacement and voicing
•Repairs to superficial damage
•Harpsichord transportation ..."
"Bennett Early Keyboards has over thirty years of experience building historically based keyboard instruments - harpsichords, clavichords and organs. We have built instruments and provided service for numerous individuals, universities and churches throughout the United States. John and Bonnie Bennett take pride in the fact that each of our instruments provides pleasure to both the ear and the eye. We also provide tuning and concert preparation, on-site service calls and ..."
"I have been an independent builder of historical keyboard instruments since 1978. Prior to establishing my workshop in that year, I was apprenticed to the organ builder Klaus Becker, Kupfermühle, Germany, and worked for a time as Praktikant in the harpsichord shop of Martin Sassmann, Hückeswagen, Germany. ...
My instruments are custom-made to order, one at a time. I adhere to the highest historical standards, using only the finest materials such as seasoned alpine (European) spruce for soundboards, air-dried pearwood for jacks, poplar, beech and oak for casework. Typical keyboard coverings include ebony and cowbone, either in the style of French harpsichords (black naturals and white sharps), or the reverse. ..."
"I maintain a small shop dedicated to the art and craft of building fine keyboard instruments. I have been building instruments for over 25 years. My focus these days has been on the clavichord and the pedal clavichord. As a musician, I am well aware of the tone and touch I desire in a musical instrument. As a builder, I know how to make that happen.
The shop is well equipped to handle all restoration work including fine casework, gilding, and veneering. We gladly make associated furniture such as benches, music stands, and music desks. In addition to our instruments, we offer outstanding custom keyboards to the discriminating organ builder. Our keyboards are now playing in organs throughout the U.S.
For those in the Boston area, we are available for tuning and maintenance of all your instruments including pianos, harpsichords, organs, and of course, clavichords. ..."
"Baroque Keyboards has been serving the performing community of the New York metropolitan area for over 40 years. Our reputation for quality, service and integrity is known throughout the music industry. We provide the finest selection of harpsichords and continuo organs available in the New York metropolitan area, and will happily provide service within a 500 mile radius. ..."
"Selway Robson handmade instruments are modern day tributes to the dedication and craftmanship of the master builders of the Baroque era. Thirty years of study and commitment to the building of harpsichords and pipe organs have made these instruments treasured possessions throughout the world, renowned for their beauty of tone and exquisite craftsmanship."
"Bradley Bennight Harpsichords is located in Flower Mound, Texas and serves the Dallas/Ft. Worth area and surrounding states. We offer various services, including building new custom harpsichords, repair, restoration and maintenance. ..."
"At the center of my harpsichord making are two different designs from the eighteenth-century French tradition. Although similar in size, these designs and the choices of materials result in timbres that are virtually at opposite ends of the French category. One, after Benoist Stehlin 1760, has a sweet soft-edged sound, and the other, after Taskin 1769, has the typical Taskin sound, sharp-edged, focused, and commanding. Both are rich and full-blooded, but the Stehlin is perhaps a music room instrument and the Taskin a concert-recital instrument. By different choices of materials, each of these sounds could be shifted towards each other. ..."