My introduction to instrument making came when I was still at school, my enthusiastic woodwork teacher recognising my interest in both music and woodwork. After school I was accepted at the Newark School of Violin Making, where besides learning the basics of violin making and repairing, I became interested in the recognition of instruments made by the old masters, and their differing styles of work.
On qualifying in 1982, I moved to north Germany to join the workshop of Geigenbau Machold in Bremen, which had a worldwide reputation for restoration work. Besides doing set ups, tonal adjustments and restoration, I had the opportunity to work on and study many of the classical Italian instruments which passed through the shop. Studying these instruments made me realise that it was not an absolute precision of execution but the fluid expression of intent, combining an understanding of shape, proportion and a mastery of technique which made them so special, both visually and tonally. It was this understanding which I determined to make the basis of my own work.
In 1985, I returned to England and settled in York, where I quickly became busy with repair work, a useful but nonetheless awkward interruption to making new instruments. Since moving to rural north Shropshire in 1996, however, I have been free to concentrate solely on making new instruments, which are played by discerning professionals and amateurs throughout this country and abroad.
My introduction to instrument making came when I was still at school, my enthusiastic woodwork teacher recognising my interest in both music and woodwork. After school I was accepted at the Newark School of Violin Making, where besides learning the basics of violin making and repairing, I became interested in the recognition of instruments made by the old masters, and their differing styles of work.
On qualifying in 1982, I moved to north Germany to...
Castle,William
