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" ... At that time there was a great deal of interest in making more historically based instruments and I jumped directly onto the bandwagon of the authentic movement. I read all that was written about old recorders and visited as many museums and collections as I could, playing, measuring and photographing their originals. I had additional tuition from Eric Moulder and Graham Lyndon-Jones, who were both professional woodwind makers and part time lecturers at the college. I think it was quite early on that I realised I would have to travel if I were to make a business out of recorder making. The recorder scene in England was very large but extremely amateur and from a playing point of view, not nearly as wonderful as I had at first thought. So I travelled a lot in Europe, visiting both museums and music conservatories, learning about the original recorders at the same time as trying to develop contacts with players. This practice carried on long after I had finished my course at the LCF in 1982 and had established my first workshop in Reykjavik. My contacts with players were essential, to give me the necessary feedback on my work, which as a rotten player, I was unable to judge for myself. Even now, with twenty years experience, I still rely a great deal on the opinions of my customers, to help me develop my work. ... " Visit website for more information. (ed.)
Category: Builders/Restorers/Suppliers / Wind Instruments
Added on: Mar 23, 2008 | Hits: 318
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