In addition to the contemporary instruments made in my studio, instruments for period performance hold an important place in my catalogue.  Though made with strict attention to the construction methods which make them period-correct, these are instruments made to perform as well as any fine instrument set up for modern performance.  From the renaissance ensemble of instruments made for David Douglas and the King's Noyse to the ongoing commissions from today's rising stars, stage soloists, and conservatory directors, (Edwin Huizinga, Ezra Seltzer, Johanna Novum, Hyunyung Choi, Alex Woods, Julie Andrijeski, Robert Mealy, and more), to the instruments in the conservatory collections themselves (Yale, Harvard, Colburn), the violins, violas, and cellos made in my studio are meant to be fun to play, to project well, and to have the myriad colors and rich tonal palette characteristic of their material construction and intended use.  As many professional musicians come to share another aspect of their artistry by pursuing a passion for early music, they need an instrument that compares to the fine instruments they've used for contemporary play.  One of my goals therefore has always been to make instruments that work and work well for these already accomplished players.  The instruments and musicians currently using the work from my studio speak to this as well as anything possibly can and of a performance scene which I think contemporary making at the highest level is very good to serve.   
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